Behind The Scenes with Costume Designer Tannis (Dee) Daoust

by Richard Young

This is the fourteenth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes”  to meet the talented creative individuals who make the London area such a vibrant arts and culture community.

In this segment, Richard Young does some Q&A with theatre Costume Designer, Tannis Daoust, who is currently costuming London Community Players’ production of The Great Gatsby at the Palace Theatre, September 24 to October 4.

(Photo Credit: Ross Davidson.)

Q. Could you provide me with some basic biographical information – Where were you born? Where did you go to school? Have you always resided in London?

I was born and raised in London and have lived here for the majority of my life, with the exception of some time spent as a traveller in New Zealand. I attended RMC High School and later secured an Honours Specialist Undergraduate degree in Political Science at Western, as well as a Master’s degree and a legacy extracurricular program within the Politics department (the Leadership and Democracy Lab).

Q. How did you get involved with community theatre? How long have you been doing costume design?

I have been working in costumes for approximately fifteen years as a hobby; I am a cosplayer at heart, just a nerd with a sewing machine at first. I got my start in theatre through cosplay, amazingly. Through the years attending local and Ontario-based ComicCons, I met Mariann Sawyer – an active and wonderful participant in too many areas of the theatre to list. She approached me nearly four years ago to design a show with Mary Jane Walzak as my Maven, and I have remained active ever since. Thank you Mariann!

Q. What kind of training did you have in becoming a Costume Designer?

My training for this job includes self-taught costume making, as well as courses to improve sewing skills taught by Laura Welsh through the City of London. Basically, my training is imagining what I want to make, and making it happen on a wish and determination through trial and error. Errors are the best way to learn.

Q. What are the duties and responsibilities of being a Costume Designer for a show? Do you usually have a team working with you?

My usual duties involve getting to know the actors and their characters, getting each person’s measurements, and ensuring fits are comfortable and accurate for each person that steps on stage. This also includes gathering accessories and picking shades that complete the whole outfit and compliment the person wearing it. Sometimes I do this alone when the cast is small and manageable, but often I have co-designers wherein we can work together to achieve the same goal, as well as wardrobe assistants to help with quick-changes in shows with large casts.

Q. What must you do to be successful in this role?

In order to do this successfully, I have to search various theatre wardrobe rooms, thrift shops, or sew pieces that flatter the actors, reflect their character, and complement the set. This also involves coordinating with the Set Designer to ensure a cohesive colour palate for visual appeal. In addition, it involves getting to know the actors and their characters, finding what is most comfortable for them, and ensuring the clothes will not cause an allergic reaction.

Q. What would you say is the biggest challenge in costuming a show’s cast?

My biggest challenge in costuming onstage casts is getting actors to be open about their comfort and allergies. Fabric softener is a hidden trigger for many, and it often takes a lot of coaxing for them to be open about what bothers their skin. This also includes being uncomfortable by the fit, fabric, or style of the clothes. If an actor is not comfortable in their costume, it means I haven’t done my job well: the last thing an actor needs to worry about is feeling self-conscious, uncomfortable, or itchy in what they wear.

Q. What is your biggest reward?

My biggest reward is seeing the actors feel good in what they’re wearing and helping them feel more like their character in the costumes. There is a feeling of joy all around when you find the perfect piece for each actor in a show. The way an actor’s face lights up when they feel great is honestly the best signal in knowing I’ve done my job well.

Q. What are some of the shows you have worked on in the past?

Some of the shows I have worked on this year include Closer (directed by Dave Semple), Urinetown! The Musical (directed by Sydney Brockway), Memoir (Scooter Productions), and Prescription: Murder (DJP Productions).

Q. Tell me about doing costuming for London Community Players production of The Great Gatsby? How are you creating a 1920s vibe on stage?

For working on The Great Gatsby, my co-designer Chloe Scripnik and I have been working on the glamourous side of the Roaring 20s. While this was a period when most were suffering from the aftermath of the the First World War, Gatsby’s world is outside the norm in its excessiveness and indulgence. In order to successfully achieve this dissonance with the time period, we have pulled inspiration from many of the actresses and artists popular in 1920s France. I personally have studied the life of Gertrude Stein as a special interest, and the social circle that surrounded her. The popular stars of silent films have helped us find that sense of excess. Other references include Josephine Baker, Ginger Rogers, Vivien Leigh, John Barrymore, Salvador Dali, Marlene Dietrich, and of course F. Scott and Zelda Fitzgerald themselves.

Q. What other shows will you be working on this year?

I am working on one more show in 2026, It’s a Wonderful Life at the Palace Theatre, directed by James Noonan and produced by Anita Goodfellow. This is actually a unique and lovely experience in my career as a Costume Designer. Not only will I be doing my work in the costume department, but I will also be appearing on-stage for the first time ever as Cousin Tillie (Matilda) Bailey! The show runs from end of November to early December, which happens to be over the course of my birthday. It’s the best gift I could have gotten, as this play has always held a special place in my heart.

Q. Any words of advice for aspiring Costume Designers?

The advice I would give to anyone who wants to be in costumes or design costumes is to just go out and volunteer. We have many amazing theatre companies in the city and nearby, whether it be The Palace Theatre Art Commons, Elgin Theatre, Infuse Productions, Musical Theatre Productions, AlvegoRoot, and so many more- there is always an opportunity to volunteer. The best part is, you don’t need to have extensive experience, all you need is the passion and the dedication. It also helps to be open to learning from those more experienced in the processes, and to have a good attitude towards team work. I began my theatre career with no professional background in costume design, but through volunteering I learned the ropes and became a costume designer along the way. Community theatre is a wonderful place not just to participate in something you’ve worked to achieve, but also to learn new things and explore passions that you may not have known how to pursue.

For tickets and more information about The Great Gatsby, visit 2026-2027 Shows – Palace Theatre

The Beat Magazine’s Pick of the Week: Village People – The Figurative Show

by Richard Young

Each week, The Beat Magazine highlights selected events – concerts, theatre productions, art exhibits, film screenings, etc. – featuring local creatives.

Village People – The Figurative Show Art Exhibition at Westland Gallery is this week’s pick.

IF YOU GO:

What: Village People – The Figurative Show

Who: This exhibition features works by Sherry Czekus, Kim Harrison, Marcy Saddy, Andrew Lewis, Brent Schreiber, Bonnie Parkinson, VC Glennie, Angela Hardy, Jeremy Bruneel, Geoff Farnsworth, Daisy Fresh, Paul Lambert, and Joanna Mozdzen.

When: September 29 to October 24. Opening Reception on Saturday, October 3, 1:00 pm to 3:00 pm

Where: Westland Gallery, 247 Wortley Road, London, ON

What They’re Saying: “When I was 25, I backpacked around Europe for a year. I found myself standing in front of Picasso’s Grande baigneuse (Large Bather) and was mesmerized. What a fabulous way to portray the human figure. I then searched out as many examples of figurative work as possible,” says Westland Gallery’s owner, Al Stewart.

“The Village People is our annual figurative show. We have done a figurative show for years because everyone sees something different, even though they are all looking at the same subject. Some people create formal portraits, others have abstracted the form to make it almost indistinguishable, others have looked at the human form from above and others create figures using wood, clay, bronze or stone.

Just like the Village People, there are all makes and models of the human figure. Come see us just south of the YMCA.”

For more information about Westland Gallery and the Village People exhibition, visit http://www.westlandgallery.ca. Follow the gallery on Facebook and Instagram.

The Great Gatsby at the Palace Theatre: A Beautiful Step Into the Roaring Twenties

by Richard Young

Reviewed by Jo-Anne Bishop

(Photo by Ross Davidson.)

There is something particularly satisfying about seeing a community theatre production that reminds you just how much can be accomplished with creativity, talent, and a dedicated team. The Great Gatsby, now playing at the Palace Theatre, does exactly that. Directed by Andrea Bennett, the production is an ambitious and visually impressive way to open the London Community Players 2026/2027 season.

First, let’s talk about the set.

David Long’s set design is impeccable. It manages to be both simple and elaborate, elegant without feeling excessive, and beautifully captures the atmosphere of Gatsby’s world. It is genuinely impressive to think that this is a set created by a community theatre. You don’t need a massive budget to transport an audience to the 1920s, and this production proves it.

The costumes were a mixed bag. There were some truly beautiful choices that captured the glamour and excess of the 1920s, but others felt less successful, both in terms of period accuracy and how they showcased the actors wearing them. In a production so visually rooted in the Jazz Age, those details matter. A little more attention to period-specific styling, and character-appropriate choices could have gone a long way toward creating a more cohesive visual world. When the costumes worked, they added enormously to the atmosphere; when they didn’t, they occasionally pulled the audience out of it.

(Photo by Ross Davidson.)

And then there is the music.

The opening of the show, with acrobatics, dancing and live music, is a terrific introduction. Having live jazz musicians on stage adds an energy and authenticity that immediately pulls the audience into the era. It is a wonderful touch and one of the elements that elevates the production beyond simply telling the story.

There are some particularly strong performances throughout the cast.

Derek Roberts as Tom Buchanan is an absolute standout. His physicality, facial expressions and command of the character bring a real sense of believability to every scene he is in. He has a way of communicating even when he isn’t speaking, and that presence elevates the scenes around him.

Tori Charron as Daisy, and Katherine Docherty as her lifelong friend, Jordan Baker, were also terrific. Both brought excellent stage presence and strong vocal projection, making their performances easy to follow and engaging to watch. There was something wonderfully unpredictable about Charron’s portrayal of Daisy — a lightness and almost whimsical quality in the way she moved, spoke, and reacted to the people around her. She captured Daisy’s tendency to be playful and flirtatious one moment, then suddenly more vulnerable or emotionally distant the next.

(Photo by Ross Davidson.)

Docherty, in particular, stood out for me, bringing a confident and assured presence to the role of Jordan. Her overall stage presence really caught my attention. Docherty seemed completely comfortable occupying the space, giving Jordan the self-assurance and independence that are so important to the character. There was a nice sense of restraint in her performance as well; she didn’t need to overplay the character to make an impression.

And Sarah Taylor, who plays Myrtle, is simply wonderful. She has a natural ability to command a scene, and she elevates every moment she is in. From her accent and expressive mannerisms to the way she carries herself, Taylor creates a Myrtle who is impossible to ignore. There is a confidence to her performance that makes the character feel larger than life, while still keeping her grounded in the world of the play. Taylor has a wonderful instinct for the small details that make a character memorable. Her expressions, gestures and vocal choices add another layer to Myrtle, and she seems to understand exactly when to push a moment and when to let it breathe.

Nico Lee Leonard, who took on the role of Daisy’s cousin, Nick Carraway, deserves recognition as well. For a first appearance on the Palace stage, there was plenty to like in the performance. His nerves were noticeable at times, particularly in some of the faster-paced dialogue, where slowing down and allowing the lines to breathe would strengthen the performance. But there is a solid foundation there, and first-time performances take courage. I look forward to seeing how he develops with more experience.

(Photo by Ross Davidson.)

Gatsby himself was a more understated performance for me. Portrayed by Jacob Wilcox, there were moments that worked well, particularly in the quieter scenes, and there was a sincerity to the portrayal that I appreciated. I found myself wishing, however, for a little more of the mystery and magnetism that surrounds such an iconic character. In particular, the relationship between Gatsby and Daisy could have benefited from a stronger sense of chemistry and emotional connection, as that longing is such an important part of what drives the story. There were glimpses of it, but I would have liked to feel that connection more strongly as their relationship unfolded.

The ensemble deserves recognition for creating the sense of a living, breathing 1920s social scene. From the parties to the quieter moments around the edges of the action, they helped give Gatsby’s world its sense of movement, glamour, and excess. The dance sequences were energetic and clearly performed with enthusiasm. At times they felt a little disjointed, but there was no shortage of commitment from the ensemble. It was obvious that everyone on stage was giving it their all and, just as importantly, having a great time doing it. That enthusiasm is infectious.

(Photo by Ross Davidson.)

And perhaps that is what I enjoyed most about this production. There is a genuine sense of joy behind it.

Community theatre is a labour of love. The people on that stage, backstage and in the creative team are giving their time, energy, and talent because they believe in putting theatre into their community. The Great Gatsby is a wonderful reminder of what that commitment can produce. It may not be perfect, but it is ambitious, visually stunning, energetic, and entertaining, and absolutely worth the price of admission.

Congratulations to the London Community Players and everyone involved on a terrific season opener. Here’s to the rest of the season!

IF YOU GO:

What: The Great Gatsby by F. Scott Fitzgerald, adapted for the stage by Simon Levy

Where: The Palace Theatre, 710 Dundas Street, London Ontario

When: September 24th – October 4th, 2026

Tickets: Adult $33 | Senior/Student $30 | Youth (Under 18) $20 In person or at https://palacetheatre.ca/

Reviewed by Jo-Anne Bishop

The Beat Magazine Q&A With Andrea Bennett, Director of The Great Gatsby

by Richard Young

London Community Players’ production of The Great Gatsby plays on the Palace Theatre’s David Long Main Stage, September 24 to October 4. Director Andrea Bennett talks about the production in this Q&A Interview with Richard Young.

(Pictured: Andrea Bennett. Photo by Ross Davidson.)

Q. Tell me about The Great Gatsby – backstory, author, performance history, etc.

The Great Gatsby is a widely known, widely studied novel that has been adapted many times. Although I never studied it in school, there was always something about the story that has always drawn me. I saw a production of Gatsby in Scotland at the Pitlochry Festival theatre (made famous by Artistic Director Alan Cumming) and it struck a chord something fierce. It wasn’t long until I was incessantly in the ears of those who decide the season. A little over a year later and here we are.

Q. Why was The Great Gatsby chosen as LCP’s Season Opener?

Why not open with a Bang!

Q. Could you provide a brief plot synopsis?

Set against the glittering excess of 1920s New York, The Great Gatsby follows Nick Carraway as he becomes drawn into the world of the mysterious Jay Gatsby. Beneath the parties and glamour lies a story of ambition, obsession, love, and the devastating consequences of chasing an impossible dream.

(Photo by Ross Davidson.)

Q. F. Scott Fitzgerald’s novel has remained in print since it was first published in 1925. It has been adapted for the stage and the silver screen numerous times. How do you account for its enduring popularity?

Who doesn’t love a good love story with suspense and intrigue? Its themes are universal.

Q. Do the themes of the story still speak to audiences in 2026?

Themes of privilege, pursuit of wealth and happiness, toxic relationships, and perhaps most relevant today is the notion of appearance versus reality.

Q. In his notes about this production, author Simon Levy states: “If possible, it would be exciting to have a live musician, A Jazz Man (sax, clarinet), to represent the passion and sound of the Jazz Age, since music is integral to the telling of this story. One should approach this play the way you would a musical.” Have you taken Levy’s suggestion to heart?

No shade to Levy, but man, would I like to sit down with the guy  and clear up a few things. But yes, we have a band and dancers…get ready!

(Photo by Ross Davidson.)

Q. I see that your Artistic Team includes a Choreographer. Does this production include dance numbers?

Sure does! And in true community theatre form, I happen to have known the choreographer since she was tiny. I also had the privilege of teaching her in high school.

Q. Could you tell our readers about the Cast?

My Jay has far more charisma than that Leonardo DiCaprio fella, that’s for sure. We have an amazingly diverse bunch of beautiful people. There are a few that I have worked with before and some that I have never but can’t wait to work with again! I deliberately chose to add several ensemble members; it’s a party after all!

(Jacob Wilcox (Jay Gatsby). Photo by Ross Davidson.)

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

Forgive me for going theatre nerd, but it’s the perfect juxtaposition of stripped down staging and outlandish additions. I have a vehicle designer, if you catch my drift.

I’ve known David and Rob for more than two decades and couldn’t imagine anybody else. I specifically chose my sound designer because he has a strong background in film and there is a bit of a cinematic vibe to my Gatsby.

Q. What can audiences expect from this production of The Great Gatsby?

As I mention in my director’s notes, this production takes the glitz and glamour and peels it back to expose the raw, human emotion and relationship dynamics. It’s a more intimate look at the vulnerability that lies beneath.

(Photo by Ross Davidson.)

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

This is definitely not the novel you remember from high school. This is not a light evening of theatre. Expect to confront some difficult content, it’s as bold as it is intimate.

Cast of The Great Gatsby

IF YOU GO:

What: London Community Players present The Great Gatsby.

When: September 24 to October 4.

Where: David Long Main Stage, Palace Theatre, 710 Dundas St., London, ON,

Tickets: Adult $33 | Senior/Student $30 | Youth (Under 18) $20 | Thursday Preview $22 (All inclusive of fees) 2026-2027 Shows – Palace Theatre

For more information about the Palace Theatre Arts Commons, visit Palace Theatre Arts Commons | London ON Community Theatre Follow the Palace Theatre on Facebook and Instagram.

The Beat Magazine’s Pick of the Week: School of Rock The Musical.

by Richard Young

Each week The Beat Magazine highlights selected events – concerts, theatre productions, art exhibits, film screenings, etc. – featuring local creatives.

The 28th annual Grand Theatre High School Project School of Rock: The Musical is this week’s pick.

IF YOU GO:

What: The Grand Theatre High School Project — School of Rock : The Musical. Based on on the 2003 hit movie starring Jack Black, the show gives London area high school students the opportunity to receive education and training in the working environment of a professional theatre. In addition to an all high school cast, students work in all the behind the scenes departments alongside a professional creative team, including a director, music director, choreographer, and designers.

When: September 22 to October 3, 2026

Where: Grand Theatre Spriet Stage, 471 Richmond St. London, ON

Tickets: $29.00 – $65.00. Online at at grandtheatre.com, by phone at 519.672.8800, or at the Box Office, 471 Richmond Street.

What They’re Saying: “School of Rock is the first time that we’re going to have students playing instruments onstage as the central idea about the show is building a rock band with high school students. That’s a really fun new opportunity and as such we’re going to see some new faces we haven’t seen in past shows,” says Rachel Peake, the Grand Theatre’s Artistic Director.

(Pictured: Student Company of the 2026 Grand Theatre High School Project.)

For more information about The Grand Theatre High School Project and School of Rock, visit School of Rock | The Grand Theatre

Another Tenth Anniversary to Celebrate in London – and you don’t have to bring a gift to Museum London on September 20th!

by Richard Young

By Daina Janitis

On a rather dreary day, tired of the political squabbles and digs on social media, I ran across a post by Kristan Smith. This London downtowner, aware of the rising mood of despair about downtown London, had taken one Sunday to stroll with his camera, snapping storefronts – independent shops where you could buy an interesting gift.

(Photo by Kristan Smith.)

And as I look back on ten years of Magisterra Soloists International in London, providing a gift stayed in my mind. As Kristan wished on Christmas, here’s to “the good people, the trying people, the quietly holding-it-together people, and the ones who showed up anyway!” 

(Pictured: Annette-Barbara Vogel, Artistic Director of Magisterra Soloists)

Ten years ago, Annette-Barbara Vogel – world-renowned violinist, professor at Western, artist in several other media, inspiring teacher – gathered several of her young graduate students to begin a chamber music organization unlike any other. Over the past ten years, that roster of musicians has grown to 49, hailing from 25 countries. At every concert, you will hear some of the finest musicians in Canada and the world, gathered together for intense rehearsals and a performance that is energetic, polished, yet fresh and enlivening. The musicians have shown up and the value of their musical gifts has enriched Londoners.

And over those ten years, what gifts has Magisterra given?

  • A partnership with Museum London at the Forks of the Thames, enlivening various spaces on concert nights and afternoons.
  • Empathy with patrons who had concerns about downtown safety- moving all concerts in the 2026- 27 season to Sunday afternoons.
  • Encouraging school-age string players in our area with an annual searchlight audition- the Young Performers’ Award. Award recipients then perform solos at the annual Christmas Baroque Concert.
  • Commitment to inclusivity with the “Magisterra Sensory Concerts”. These twice-yearly concerts involve Magisterra Fellows creating programs designed for individuals with autism, learning disabilities, and sensory or communication difficulties. The relaxed atmosphere welcomes everyone.
  • Commissioning works by living Canadian composers.
  • Providing accessibility through first-time recording of “forgotten” composers like Ferdinand Thieriot (1838-1919). A Romantic composer from Hamburg, Germany, Thieriot is often described as a forgotten composer, despite leaving behind a remarkable collection of works.

This year, Magisterra Soloists is helping to bring Thierot’s name and his music back into the light. Last summer, Magisterra Soloists spent time in the studio recording two extraordinary Octets by Thieriot. Now, those recordings are ready to be released on Sunday, September 20, 2026, at 3:00 pm at Museum London as the ensemble opens its season with the performance of his Octet in B-major.

On Sunday you will watch, listen to, and be welcomed by some astounding people – the good people who have been creating and holding Canada’s culture together.

Try to chat with some of these people afterward:

(Pictured: Jutta Puchhammer-Sédillot, viola.)

Jutta is Austrian-born but has been a full professor of viola and chamber music at the Université de Montreal since 2002. She is a fiercely energetic teacher- and traveler!

(Pictured: Vera Sherwood, violin.)

If you speak to Vera, you will hear another delightful accent: in 2011, she moved to Canada where she played with the Glenn Gould Quartet and in 2012 she joined the Niagara Symphony Orchestra. Vera is currently teaching at her private studio and is a violin instructor at Brock and McMaster Universities.

(Pictured: Ben Bolt-Martin, cello.)

Ben Bolt-Martin is principal cello with London Symphonia, directs the London Youth Symphony, and is a founding member of INNERchamber, an inventive and intimate chamber music series in Stratford and has performed 20 seasons with the Stratford Festival of Canada, Ben has also featured as a soloist across Canada with a special interest in new music reflecting humanity’s search for meaning

(Pictured: Brian Baty, double bass.)

Brian Baty is a freelance double bass player in Toronto and Southern Ontario. His performance career is comprised of orchestral music (symphonic, opera, ballet, contemporary), chamber music, solo appearances and music theatre.

(Pictured: Peter Shackleton, clarinet.)

But September 20th will also be graced with WINDS beyond compare! Peter Shackleton is principal clarinetist of the Thunder Bay Symphony Orchestra and a member of Music in Common and INNERchamber. He has served as principal clarinetist of Orchestra London Canada, and has performed with Tafelmusik (on historical clarinet) and Les Violons du Roy, as well as with the Milwaukee Symphony, Winnipeg Symphony … and countless others. He’s also the funniest, most charming clarinetist I’ve ever met.

(Pictured: Liesel Deppe, flute and piccolo.)

Liesel Deppe was born in South Africa and received her undergraduate degree from the University of KwaZulu-Natal. It enabled her to further her studies at the Hochschule für Musik und Theater in Munich, Germany, where she obtained a Meisterklassendiplom. After one year at Colorado U in Boulder, she moved to Canada where she obtained her M.Mus. degree at Western. She plays with the Windsor Symphony.

(Pictured: James Mason, oboe.)

Another familiar name– James Mason – no, not THAT one- our own Jimboe; he retired from the Principal Oboe  position of the Kitchener-Waterloo Symphony in 2019 after 40 years.  He has appeared as a soloist, chamber musician and teacher in Germany, Holland, Spain, South America and Japan as well as the United States and Canada.

(Pictured: Julie Shier, bassoon.)

And on the bassoon- definitely NOT an “ill wind” – Julie Shier has been a member of the Windsor Symphony Orchestra since 1992. She is also a core member of London Symphonia and has played with the Stratford Festival, Kitchener-Waterloo Symphony and Hamilton Philharmonic.

(Pictured: Ron George, French horn.)

And the stunning sound of the French horn will be added by Ron George– newly retired from the Symphonia after 40 years. He’s a gift to Canada – and London in particular- and along with his too-many-to list roles and performances in Canada’s music culture – his adorable modesty and kindness will leave an indelible impression on your concert experience.

This concert is a gift – to London, to you, and to the hopes we all hold for a city rebuilding its beauty, safety  and respect. As Indian president Nehru reminded his country, ““The very essence of all culture is its unity, its power to bind a people together, to give them a sense of solidarity, of pride, of self-respect.”

IF YOU GO:

What: Magisterra Soloists present From Stage to Studio CD Launch & 10th Anniversary Season Opening

When: Sunday, September 20, at 3:00 pm.

Where: Museum London, 421 Ridout St N, London, ON 

Tickets: Magisterra At The Museum: From Stage to Studio Tickets, Sunday, September 20  •  3 PM – 4:30 PM | Eventbrite

For more information about Magisterra Soloists, visit http://www.magisterra.com

The Beat Magazine’s Pick of the Week: Forest City Irish Fest, September 18 & 19.

by Richard Young

Each week The Beat Magazine highlights selected events – concerts, theatre productions, art exhibits, film screenings, etc. – featuring local creatives.

The inaugural Forest City Irish Fest is this week’s selected event.

IF YOU GO:

What: Forest City Irish Fest. A 2-day celebration of Irish arts and culture in the London area.

When: Friday September 18 and Saturday September 19.

Where: Various locations in Wortley Village including the Village Green, Landon Public Library, Hyland Cinema, Wortley Roadhouse, Sagi of Wortley, Old South Village Pub, Plant Matter Kitchen, and the German Canadian Club.

Schedule of Events:

What They’re Saying:

“There is already a lot of Irish culture here in London, but not out in the open. Seisiúns [informal gatherings at which people play traditional Irish music] happen every Tuesday at Scott’s Corners and have been going on for decades. There is so much Irish music and dance in London, but much of it is under the radar, so we thought it was time to get it out in the open and get people excited about it. London and the local region has had a major influence from the culture of Ireland,” says Rachel Genders Boyd, Forest City Irish Fest co-artistic director. 

For more information about the Forest City Irish Fest, visit their website www.forestcityirishfest.com  and check out their Facebook and Instagram pages for updates.

Behind The Scenes: Audrey Cooper — Spirit, Grace, and Style.

by Richard Young

By Beth Stewart

This is the thirteenth in an ongoing series in which The Beat Magazine 2025 takes readers “Behind The Scenes”  to meet the talented creative individuals who make the London area such a vibrant arts and culture community.

In this segment, Beth Stewart profiles Audrey Cooper, founder and owner of Art with Panache, on the eve of her 99th birthday.

(Audrey Cooper. Photo by Beth Stewart.)

Audrey Cooper moved to London in 2003 to be closer to family and, in 2005, with little prior experience, she began painting.

Cooper was inspired to capture in acrylic on canvas her experience of growing up in the Danforth area of Toronto in the 30s and 40s after seeing school children of this century idling during recess. She recalls, “They were standing in the school yard, on their phones, not playing games or even talking to each other.” She wanted to show how different it was when she was in school.

(One of Audrey Cooper’s earliest pieces. Acrylic on wood. NFS. Photo by Beth Stewart.)

“I didn’t want that time to be forgotten. We would skip double Dutch and play ball. We would play Red Rover, hopscotch, and have lots of fun,” says Cooper.

Then, she went further and showed her life from approximately nine years of age until age sixty. She captured carnivals, family outings, coffee klatches and Tupperware parties.

(Audrey Cooper’s acrylic painting “Crack the Whip (Evening Skating at Withrow Park)” depicts the park’s role as a vital winter gathering place for generations of families. Photo courtesy of Audrey Cooper.)

A self-described “city person”, Cooper classifies her own work as “Urban Folk Art”. Her vibrant cityscapes are chock-a-block with people and things. Her crowded canvases boast meticulous detail and spin rich narratives with their deeply personal mix of realism and nostalgia.

(Audrey Cooper’s acrylic painting “Carnival (Judging for Miss Danforth 1939)”, captures the excitement of small travelling carnivals that rotated through vacant east-end lots near her home. Photo courtesy of Audrey Cooper.)

Much to her surprise, Cooper discovered London did not have a gallery that would show the artworks of emerging artists such as herself.

(Audrey Cooper’s 2008 acrylic painting “The Bluebell” shows the steam-powered sidewheel ferry that carried passengers between downtown Toronto and the Toronto Islands from 1906 until 1955. Photo courtesy of Audrey Cooper.)

Then, she happened upon an empty space in downtown London’s Talbot Centre and fell in love with its potential. “Its purpose was clear to me,” she says. “It was the perfect venue to show everyone what a talented and creative community of local artists we have in London”.

So, in 2013, at the age of 86, Cooper founded Art with Panache, and a dream was born.

People began to drop in, and Cooper soon recruited a roster of talented artists.

Art with Panache now boasts 20 local artists, including owner Audrey Cooper. Member artists have input into what goes on in the gallery. They sit the gallery a minimum of two times per month. In return, they have the opportunity to show and sell their work at the venue.

(Member artists are featured on the main wall on a rotating basis. This is a selection of work by Diane Flemming. Photo courtesy of Diane Flemming.)

Member artist Dianne Fleming, who has been with the group for three years, calls the gallery “a hidden gem”.

Cooper concurs and gives kudos to all the artists who have worked in the gallery, who have brought in their collections, and who have waited patiently to be recognized by the London arts community.

(A selection pf work by member artist Catarina Bezuidenhout. Photo by Beth Stewart.)

In 2024, Audrey was named to the City of London’s Mayor’s New Year’s Honour list in the category of arts. This list celebrates the diversity of philanthropic work taking place in the London community.

Audrey Cooper turns 99 years old on September 18, and still works in the gallery Monday through Friday. To celebrate, the gallery is planning a retrospective of Cooper’s work which will run September 14 to 18, 2026.

Cooper’s birthday coincides with the gallery’s 13th anniversary, and a party for both is planned on September 18 from 11 am to 3 pm.

Art with Panache will be putting out a Call for Artists in October. This is an opportunity for non-member artists to show their work and get a taste of what the gallery has to offer. The theme is still in flux.

Art with Panache is located at 465 Richmond Street in Talbot Centre. For more information, visit: http://www.artwithpanache.ca Follow on Facebook http://www.facebook.com/ArtWithPanache

By Beth Stewart

Web: https://bethstewart.ca/

Facebook: https://www.facebook.com/profile.php?id=100009620916363

Top Girls: Interesting. Different. Heavy.

by Richard Young

Reviewed by Jo-Anne Bishop

As I left the Princess Avenue Playhouse after seeing Top Girls, I overheard a few patrons trying to describe what they had just seen. The words I heard were “interesting,” “different,” and “heavy.” Honestly, I’m not sure I could have described it much better myself.

Caryl Churchill’s Top Girls, directed and produced by Timothy Hedden, is definitely not conventional theatre. It is subtle, unusual and, at times, deliberately confusing. It doesn’t simply hand you its themes and explain what you’re supposed to think. Instead, it asks you to piece together the connections between the women, their experiences, and the choices they have made. For some people, that will be exactly what makes it interesting. For others, it may make the play a little harder to connect with.

(Photo by Ross Davidson.)

The opening dinner-party scene was particularly challenging for me. Without giving away the premise, Marlene’s guests come from very different times and worlds, and their stories are used to explore the experiences of women throughout history. There is clearly a bigger purpose behind bringing these women together. Their stories reveal some surprisingly common themes of sacrifice, oppression, motherhood, sexuality, ambition, and survival.

Lala Edmunds, who played Marlene, brought a strong presence to the production, and her performance established the confidence and ambition at the heart of the character. Dinah Watts also stood out as Isabella Bird/Louise, bringing a memorable energy and individuality to both roles.

(Photo by Ross Davidson.)

Unfortunately, I struggled to find my way into the opening scene.

The dialogue is intentionally written with characters interrupting and speaking over one another, creating a frantic, almost feverish rhythm. That is part of Churchill’s style and is meant to give the dinner conversation an overlapping, chaotic quality. But I found it difficult to follow in this production. Between the overlapping dialogue, the pace and differences in volume, there were times when I simply couldn’t hear or understand what was being said. One character in particular was difficult to hear, and with the other conversations continuing around her, I sometimes lost the thread completely.

The lighting in the first act also created some very heavy shadows in a few scenes. While I’m sure there was a reason behind the choices, I found some of them distracting and combined with the dialogue, they made those moments even harder to take in.

I don’t know whether these challenges were primarily the writing, the direction, the performances, the acoustics of the space, or some combination of all of them. But the result was that the opening section largely lost me. And that’s unfortunate, because I suspect there was much more meaning in that scene than I was able to take away from it.

The production became much more accessible for me once it moved into the contemporary story.

The scenes involving Angie and Kit were a particular highlight. Avery McLaughlin brought a wonderful naturalness to Angie, making her believable, endearing, and completely engaging. Amélie Merchant was equally strong as Kit, and together the two young actresses created a relationship that felt spontaneous and genuine. I found myself hanging on their every word.

(Photo by Ross Davidson.)

Judy Cormier, who played Pope Joan/Joyce, was another standout. She brought an emotional weight and groundedness to the production that drew me further into the family dynamics and made the more personal moments especially affecting.

From there, the play’s exploration of ambition, family, motherhood, class, and the sacrifices women make in pursuit of success became much clearer. Top Girls is ultimately asking some pretty heavy questions about what women are expected to give up in order to succeed, and whether reaching the top is necessarily the same thing as winning. Marlene embodies that conflict particularly well.

(Photo by Ross Davidson.)

Edmunds’ performance captured that tension effectively. Marlene is ambitious and self-assured, but the play gradually reveals the personal costs beneath that confidence. Her success is never presented as simple or uncomplicated, and Edmunds gave the character enough strength and complexity to make that conflict interesting.

I did, however, find the overall story difficult to connect with at times. The structure is deliberately non-linear, moving between different points in time and different aspects of Marlene’s life. It’s an interesting theatrical choice, but I sometimes found myself wondering where the story was going and what I was ultimately supposed to take from it.

And then there was the ending.

When I left the theatre, I’ll admit I wasn’t entirely sure what I had just watched. I understood the themes, but I felt like something was missing. Perhaps that was intentional. Perhaps the ending was meant to leave the audience sitting with it rather than neatly tying everything together.

It actually took me almost 24 hours to figure out what the ending meant to me.

I was driving today, thinking about this review, when suddenly I had my aha! moment. Something clicked, and I understood the ending in a completely different way. I actually found myself thinking that perhaps the ending would have landed sooner for me if the opening had been a little stronger and easier to follow. If I had been able to take more from those early conversations, maybe some of the connections would have been clearer by the time we reached the end.

And perhaps that is part of the point. The fact that I was still thinking about the play almost a day later says something. It certainly made me think, even if I didn’t always enjoy the process of getting there.

That doesn’t mean I regret seeing it. Quite the opposite.

There is something valuable about theatre that challenges an audience, even when it doesn’t completely work for every person in the room. Top Girls tackles some difficult realities women have faced—and continue to face—and it does so in a way that is thoughtful, unusual and, at times, uncomfortable.

(Photo by Ross Davidson.)

For me, the strongest parts of this production were the performances and the moments when the human relationships came into focus. McLaughlin and Merchant were especially engaging as Angie and Kit, while Cormier brought a strong emotional centre to the family scenes. Watts also made a memorable impression as Isabella Bird/Louise, and Edmunds gave Marlene the confidence and complexity the role demands.

The weaker moments were those where the experimental structure, overlapping dialogue, volume and, at times, lighting became barriers to understanding rather than helping draw me further into the story.

Would I tell someone not to see Top Girls? Absolutely not.

I think theatre is worth seeing even when it isn’t necessarily your cup of tea. Storytelling needs audiences who are willing to take a chance on something different, and Top Girls certainly gives you something different.

But I would say this: Top Girls is not going to be a show for everyone. It is dark, unconventional and, at times, difficult to follow. Go in expecting to work a little harder as an audience member, and don’t expect everything to make sense right away.

Because sometimes the meaning doesn’t arrive until you’re already on your way home.

Interesting. Different. Heavy.

And sometimes, I suppose, that’s exactly what theatre is supposed to be.

(Photo by Ross Davidson.)

IF YOU GO:

What: Top Girls by Caryl Churchill, Directed By Timothy Hedden

Where: Elgin Theatre Guild, Princess Ave Playhouse, 40 Princess Ave, St. Thomas

When: September 10th – 20th, 2026

Tickets: $25 + fees, ELGIN THEATRE GUILD – Home

Reviewed by Jo-Anne Bishop

Cuckoo’s Nest Folk Club presents Arthur Coates & Kieran Cotterell, Friday, September 11.

by Richard Young

Winners of the 2025 Robinson Emerging Artist Showcase at the Goderich Celtic Roots Festival, award-winning UK folk duo Arthur Coates & Kerran Cotterell bring their high-energy live show to London, combining fiddle, guitar, foot percussion, rich vocal harmonies, humour, and storytelling. Drawing on the traditions of Scotland, England, Shetland, Ireland, and Québec, the duo have developed a powerful sound that can feel more like a full band than two musicians.

Arthur Coates, a fiddler raised in Aberdeenshire, builds rolling, riff-heavy tunes grounded in his family’s musical traditions and shaped further by studies with Jonny Hardie (Old Blind Dogs). Kerran Cotterell, a melodic schemer from Cumbria, draws on pop and choral training to weave in crisp harmonies and satisfying twists. Since first meeting at Sidmouth Folk Week (England) in 2018, Arthur and Kerran have grown from pub jam sessions to becoming festival favourites across the UK.

As broadcaster Mike Blackburn put it: “One of the very best live acts I’ve ever seen – and I’ve seen a lot!”

IF YOU GO:

What: Cuckoo’s Nest Folk Club presents Arthur Coates & Kerran Cotterell.

When: Friday, September 11, 7:30 pm.

Where: German Canadian Club, 1 Cove Road, London, ON

Tickets: $25 Advance / $30 at the Door – Advance tickets available at Grooves (Wortley), Long & McQuade North (725 Fanshawe Park Rd W) and online https://ticketscene.ca/events/62439/