Tag: lighthouse festival

News

Opinion: Gary Smith’s best theatre of 2024 (Hamilton Spectator)

Posted on December 24, 2024
A scene from “Beautiful Scars.” Gary Smith calls it “a knockout in a visual kaleidoscope of a production.”Dahlia Katz

Here’s to a better 2025 and a major return to prosperity in the theatre world.

By Gary Smith | Special to the Hamilton Spectator

Tuesday, December 24th, 2024

Theatre has survived another year, and audiences are returning to performances in greater numbers. But there are still too many empty seats to celebrate a return to pre-pandemic levels.

Only the most popular shows sell out these days and the uncertainty of sales is frightening to even the most celebrated companies.

Here’s to a better 2025 and a major return to prosperity in the theatre world. And here’s to seeing you in a theatre soon.

In no particular order, here are the 13 best shows I saw this past year.

“Ragtime” at Encores City Center New York. This rangy, sprawling musical with its passionate score and stunning cast was a magnificent reminder of how powerful great theatre can be. Hamilton-born star Caissie Levy played Mother and she stopped the show cold for six minutes while the audience stomped, cheered and screamed the place down. Her version of “Never Go Back to Before” was riveting.

“Salesman in China” at the Stratford Festival. This was the most compelling theatre experience of the Stratford season, recalling the great playwright Arthur Miller’s experience directing his heartbreaking play “Death of a Salesman” in Beijing with an all-Chinese cast. At Stratford, Tom McCamus, Ying Ruocheng, Sarah Orenstein and George Chiang gave stirring performances that buried themselves deep into the imagination. An illuminating experience.

“Maggie” at Goodspeed Opera House in Goodspeed, Conn. This musical, originally produced at Hamilton’s Theatre Aquarius, was even better in its American iteration with the astounding Christine Dwyer in its titular role. Everything about Mary Francis Moore’s elegant direction was braver and richer in Connecticut.

“Something Rotten!” at Stratford Festival Theatre. Yes, this is only a so-so musical with a lot of silly business and not so memorable songs, but director Donna Feore made up for that with smart staging and stunning choreography. She is a wizard at making the ordinary spectacular. Long may she set folks dancing at Stratford.

“The Master Plan” at Theatre Aquarius Hamilton. No, not everyone liked this powerhouse play by Michael Healey, but it was sensational theatre, acted by a crack cast and directed by the gifted Chris Abraham. The energy, pace and star power of its cast, led by Mike Shara, Philippa Domville and Ben Carlson, was superb. The show deserved sold-out houses in Hamilton — sadly, it didn’t get them. Great theatre is hard to come by and this was great theatre.

“Next to Normal” at Wyndham’s Theatre London, England. Hamilton’s Caissie Levy was again burning a patch off the stage in a power-packed performance as a woman haunted by the death of her son. This was Levy’s second time in this role and she led an amazing cast. She was nominated for an Olivier Award as Best Actress. She didn’t win. Doesn’t matter. She was terrific.

“Mary’s Wedding” at Lighthouse Festival Theatre Port Dover. Forget the perch at the restaurant, this was the reason to go to Dover this summer. A first-class production of Stephen Massicotte’s Canadian play was directed beautifully by Derek Ritschel. Every shade and nuance was carefully etched into exquisite performances by Daniel Reale and Evelyn Wiebe.

“Water for Elephants” at New York ‘s Imperial Theatre. Burlington-born choreographer Jesse Robb was nominated for a Tony for his work on this stunning show and Paul Alexander Nolan, who has starred at Theatre Aquarius, was superb in it. This show has everything: fine music, a great story about finding yourself and dance to die for. It’s closed now after a good run. Maybe it will come to Toronto. We can always hope.

“Beautiful Scars” at Theatre Aquarius Hamilton. This rangy musical about the epiphany that gave Hamilton musician and writer Tom Wilson a whole new world was written alongside Shaun Smyth, with larger than life music by Wilson. It was a knockout in a visual kaleidoscope of a production smartly directed by Mary Francis Moore.

“The Hills of California” at the Broadhurst Theatre, New York. It’s too late to catch this one in its outstanding U.S. premiere, but someone will do it in Toronto, or maybe even Hamilton. Jez Butterworth’s script about a dysfunctional family is excoriating and Sam Mendes directed a brilliant cast that shone through the play’s hills and valleys of hope and despair. A real stunner.

“Come From Away” at the Royal Alexandra Theatre in Toronto. OK, it’s been around the block and just won’t go away — and that’s because it’s good. Back in Toronto, the show is still telling a heartwarming story about pluck and courage and Canadian good manners. And Hamilton’s Kristen Peace is still in it and terrific as usual.

“The Marilyn Conspiracy” at Park Theatre in London, England. This play about what might have happened to Marilyn Monroe is a real shocker, with some heavyweight accusations about some very famous people. Performed at a small theatre in London, it was riveting theatre with Genevieve Gaunt as a clone of Monroe. The Kennedys would certainly never endorse this stunning conclusion to the mystery of Marilyn’s death. Maybe someone will do the play here. It will certainly shock you silly.

“A Christmas Story The Musical.” Hamilton’s Theatre Aquarius offered a terrific production of what is really just a so-so musical to bring family entertainment back to their stage. Performers Jamie McRoberts, Adam Brazier, Finn Kirk and Addison Wagman made it work, along with some smart direction by Mary Francis Moore.

And that’s it. The best of 2024. Have a very happy 2025 and support theatres everywhere. They need us more than ever.

Opinion articles are based on the author’s interpretations and judgments of facts, data and events. More details

Gary Smith has written about theatre and dance for The Hamilton Spectator, as well as a variety of international publications, for more than 40 years.

News

With the holiday season upon us, it’s panto-mania for Canadian theatre (CBC Arts)

Posted on December 20, 2024

Ross Petty helped grow the art of pantomime in Canada. Now, his influential show hits the stage once more

By Aisling Murphy | CBC Arts

Friday, December 20th. 2024


When theatre producer Ross Petty announced his retirement from his annual holiday pantomime in 2022, he left a gaping hole in Canadian theatre. The “Petty panto,” as it was lovingly known by Toronto theatre fans of all ages, was a tradition — a yearly excuse to celebrate all things silly with big dance numbers and naughty innuendos.

Thanks to Canadian Stage, the pantomime is back in Toronto this year, with Petty serving as executive producer emeritus. 

The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)

Over the last few decades, holiday pantos have cropped up across Canada, each one a little different in terms of how they pay homage to their respective communities. Most of them hold fast to the form’s usual features — audience participation, singalong dance numbers and melodramatic conflicts — and most theatre artists credit Petty for kick-starting the panto trend in Canada.

What is a pantomime?

A pantomime is a family-friendly musical typically produced in the lead-up to Christmas, although the show seldom touches on religious or holiday themes. What typically makes pantomime fun for all ages is the element of audience participation — spectators are encouraged to boo the villain, cheer for the hero and sing along to their favourite pop songs, which are often woven into the musical score of the show.

Simon Sladen, senior curator of modern and contemporary theatre and performance at the Victoria and Albert Museum in London, has dedicated his career to researching the phenomenon of pantomime. In 2013, he launched the National Database of Pantomime Performance, enabling researchers to track every professional pantomime in the U.K. and beyond.

The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)

“Pantomimes are often considered popular art, something that isn’t in the same cultural hierarchy as, say, Shakespeare,” Sladen tells CBC Arts. “But there’s no reason for that apart from cultural snobbery. Pantomime is a very important part of British Christmas. It’s a form that’s survived centuries, and it’s enjoyed by millions of people in the U.K. each year.”

Sladen includes Petty in a group of theatre creators who helped to usher pantomime beyond the British Isles, and says Petty’s work has helped to keep panto alive in Canada.

“He’s a great performer,” says Sladen. “His villainy is just amazing. A Ross Petty panto is anarchic and eccentric, and those are things I love in a panto. They’re cartoony, and they have interesting morals in them. They’re not constrained by expectations of tradition, which can happen a bit here in the U.K. They don’t have the same cultural straitjacket. They can present panto as a bonkers British genre but with its own spin, which I think is fantastic.”

Reviving the Ross Petty panto in 2024

Brendan Healy, artistic director of Canadian Stage, says taking the panto under his company’s wing was an easy decision. Canadian Stage is famous for its Dream in High Park summer theatre series, and according to Healy, there was interest in finding a family-friendly winter counterpart to the annual Shakespeare tradition.

“When Ross was retiring in 2022, we thought there was an opportunity for us to pick up the panto and make that our family winter offering,” he says. “I have a very strong belief that Canadian Stage needs to do its part in fostering the next generation of theatregoers, and provide opportunities for younger people to experience live theatre. Dream in High Park does that, but Ross has introduced literally thousands upon thousands of children to theatre. That’s what plants the seed for a lifetime of interest in the art form.”

The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)

Petty vividly remembers the first call he got from Canadian Stage, during which it became clear both to him and the new producers: “The panto cannot die after 27 years.”

“I’m delighted that Canadian Stage came forward with this proposal,” he says. As executive producer emeritus, Petty contributed a few of his relationships in advertising and sponsorships, and he sat in on a few rehearsals, but for the most part, he has been hands-off with this production. That’s part of his “running off into the sunset” dream of retirement, he says.

“The whole creative team is stellar — Ted Dykstra has directed five of the pantos in the past, and music director Mark Camilleri has done them for several years. I trusted each member of this team implicitly.” 

The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)

On Dec. 11, at Toronto’s Winter Garden Theatre, the Ross Petty panto officially returned with a deliciously campy adaptation of The Wizard of Oz. Playwright Matt Murray, who previously wrote six of Petty’s pantos, handled the pen once more for this milestone outing. And while, yes, this year’s choice of story was partly inspired by the recent film adaptation of Wicked, there’s more nuance to it than just that.

“I’m really feeling the sense that people genuinely missed this tradition,” Murray says. “I think people are really craving it. It’s been very exciting to feel the energy of getting this opportunity to bring this tradition back.

“We knew people would be loving Oz right now and wanting more of it,” he continues. “The enthusiasm is there. The show is really hitting the zeitgeist, and that’s really fun.”

Panto beyond Toronto

The Canadian panto craze extends far beyond Toronto. Around the GTA, loads of regional theatres stage annual pantomimes — inspired, of course, by Petty — but further adrift, smaller communities have taken the art form and made it their own.

Vancouver’s East Van Panto is a beloved local tradition that infuses pantomime with a sense of social justice. This year’s story, Robin Hood, comments on gentrification, and according to co-writer Jiv Parasram, is “a lot more politically engaged” than some of the other theatre happening in Vancouver.

East Van Panto Robin Hood by Theatre Replacement at the York Theatre in Vancouver. (Emily Cooper)

“It borrows the conventions of the traditional British panto, but has really morphed into its own thing,” says fellow co-writer Christine Quintana. “East Vancouver is a very artist-heavy, counterculture-heavy community.”

“I’m familiar with the Petty pantos from when I lived in Toronto,” says Parasram. “They’ll touch on politics, but it’s usually pretty light. The East Van Panto lives more in the political satire realm, and we really leaned into that this year.” According to Parasram and Quintana, their panto is loaded with esoteric local references, like an infamously weird sign warning hikers of deep mud at Trout Lake, which makes an appearance in the show.

“That kind of hyper-specific reference is really fun for us,” says Parasram. “It’s awesome to get to pay tribute and mythologize places that are real and that mean something.”

Cinderella by Lighthouse Festival Theatre in Port Colborne, Ont. and Port Dover, Ont. (Lighthouse Festival Theatre )

In southwestern Ontario, Lighthouse Festival Theatre is one of several companies with an annual pantomime. The company has theatres in two cities — Port Dover and Port Colborne — and the yearly panto is a highlight of their programming, which is otherwise concentrated in the summer months.

“Pantomime is such a participatory style of theatre,” says artistic director Jane Spence. This year, Lighthouse produced a panto-fied take on Cinderella. “We had a performance for 300 elementary school kids and it was magical. I’ve never seen an audience so engaged. They were all just ready to boo and cheer, and they sang along with some of the songs. It was such a beautiful moment — there was not one cellphone on in the whole audience. 

“Everyone was just engaged, and there was so much excitement,” she continues. “I thought, ‘This is how you inspire the next generation of theatre-goers.'”

Aisling Murphy is a Toronto-based writer and editor. She is the Senior Editor of Intermission Magazine, and has previously written for the Toronto Star and CP24. She is the incoming Theatre Reporter for The Globe and Mail.

News

Meet the cast of Cinderella – The Panto! | Brad Hart as Drummer

Posted on December 15, 2024

We sat down with drummer extraordinaire, Brad Hart, about Cinderella – The Panto! and chatted out the importance of music in a pantomime, what drew him to this role, and what are the challenges and rewards of live theatre compared to other forms of performing arts.

Brad Hart as Drummer (Sticks) in Cinderella – The Panto!

Lighthouse Festival (LF): How important is music in a production like Cinderella?

Brad Hart (BH):  I think there is a correlation between the effect that comedy and music have on an audience.  It is an instinctual, reflexive  response.  Laughter as a reaction is mysterious and beyond our control, as is the emotional reaction to music.

(LF): What are the challenges and rewards of live theatre compared to other forms of performing arts?

(BH): Live theatre is such a joyously collaborative experience during the rehearsal process — there is nothing else quite like it.  As far as performances go, you get to create something with the audience that is only ever going to exist in that exact moment and then it is gone.  The energy that passes between the audience and performers is beautiful — and reciprocal.

(LF): What drew you to this role in Cinderella and why did you want to be a part of it?

(BH): I always had a deep envy of David Letterman’s drummer, Anton Fig — how he got to sit back and comment on the jokes by adding the odd rimshot to the proceedings!  I couldn’t pass up the chance to do that in in the Cinderella Panto!

News

Meet the cast of Cinderella – The Panto! | Steve Gauci as as Dandy

Posted on December 14, 2024

We chatted with our panto villain, Steve Gauci, about Cinderella – The Panto!, including what the audience will laugh at most during a performance of Cinderella, what drew him to this role, and what he’d do next if he had a magic wand.

Steve Gauci as Dandy in Cinderella – The Panto!

Lighthouse Festival (LF): If you had a magic wand, what would you do next after Cinderella?

Steve Gauci (SG): After this show, I want to hang out and watch Christmas movies with my wife and girls. And, with a little magic, I’d love to start working in the voice industry.

(LF): What will the audience laugh at most during a performance of Cinderella?

(SG): The beginning of the show. No, wait! The end. No,wait! The middle .

(LF): What drew you to this role in Cinderella – The Panto!?

(SG): Jonny (The Director). We’ve worked together many times, I was visiting this summer and he offered me the job. So, I took a leave from my teaching job in Victoria and here I am.

(LF): What are the challenges and rewards of live theatre compared to other forms of acting?

(SG): For better or worse, I’ve only done live theatre. I will say that 4 hours of choreography is a lot harder now than when I was 25.

(LF): What’s the biggest challenge about taking on this role?

(SG):  Trying to keep up with the rest of this very talented cast…and 4 hours of choreography!

News

Meet the cast of Cinderella – The Panto! | Katie Edwards as Cinderella

Posted on December 8, 2024

We chatted with our favourite princess, Katie Edwards, about Cinderella – The Panto!, including what the audience will laugh at most during a performance of Cinderella, what drew her to this role, and what she’d do next if she had a magic wand.

Katie Edwards as Cinderella in Cinderella – The Panto!

Lighthouse Festival (LF): If you had a magic wand, what would you do next after Cinderella?

Katie Edwards (KE): If I had a magic wand, the show I’d love to do next would be the musical, Annie. It’s such a fun show with fantastic songs and dance numbers. I always thought it would be fun to play Lily St. Regis.

(LF): What will the audience laugh at most during a performance of Cinderella?

(KE): In addition to some good old-fashioned toilet humour, the audience will likely laugh at almost everything the Fairy Godmother says or does. Raquel Duffy is hilarious in the role, and I’m truly terrified of cracking up on stage when we’re in a scene together. 

(LF): What drew you to this role in Cinderella – The Panto!?

(KE): I was obsessed with Disney princesses growing up, so getting to play Cinderella truly fulfills a childhood dream of mine. I’ve always appreciated her kindness and compassion, and I love how those lovely qualities are rewarded. Although, to be honest, in a Cinderella panto, I’d be happy playing a mouse! It’s just a joy to be a part of this magical show.

(LF): What are the challenges and rewards of live theatre compared to other forms of acting?

(KE): The biggest reward of live theatre is having an audience. Hearing an audience enjoy your performance can give you the biggest confidence boost! However, the challenge with doing live theatre is that sometimes you will make mistakes and the audience will notice – luckily we have the freedom to make fun of our mistakes in a panto!

(LF): What’s the biggest challenge about taking on this role?

(KE):  The biggest challenge is balancing the heart of the fairytale with the joy and silliness of a panto. Cinderella sometimes experiences sadness and doubt in the show, and yet we always have to keep the energy light and fun. It is quite the balancing act!

News

Meet the cast of Cinderella – The Panto! | Sal Figliomeni as Speline Dijon

Posted on December 7, 2024

We chatted with the hilarious Sal Figliomeni about Cinderella – The Panto!, what are the challenges and rewards of live theatre compared to other forms of acting, what’s the funniest line of dialogue in the play, and what he’d do next if he had a magic wand.

Sal Figliomeni as Speline Dijon in Cinderella – The Panto!

Lighthouse Festival (LF): If you had a magic wand, what would you do next after Cinderella?

Sal Figliomeni (SF): My magic wand would pick “ Mother Goose” the Panto.

(LF): What will the audience laugh at most during a performance of Cinderella?

(SF): The audience will laugh most at the tall, funny, stepsister. 

(LF): Without giving anything away, what’s your favorite line of dialogue?

(SF): “Could we? Should we? We Must!“ 

(LF): What are the challenges and rewards of live theatre compared to other forms of acting?

(SF): The rewards of live theatre, especially Panto, is the audience participation. The more they engage and respond, the better the whole show is for everyone. 

(LF): What’s the biggest challenge about taking on this role?

(SF):  The biggest challenge about this role is sharing the “Dame” role with someone. It is usually all about me!!! Kidding… Not kidding. LOL.

News

Meet the cast of Cinderella – The Panto! | Raquel Duffy as Fairy Godmother

Posted on December 3, 2024

We sat down for a wee chat with Raquel about Cinderella – The Panto!, how she sees the role of theatre in today’s society, what’s the funniest line of dialogue in the play, and what is the biggest misconception about people who work in the world of theatre.

Raquel Duffy as Fairy Godmother in Cinderella – The Panto!

Lighthouse Festival (LF): How do you see the role of theatre in today’s society?

Raquel Duffy (RD): Many of us live/play/work in an alternate ‘cyber’ world. Theatre allows a shared experience–not only with friends and family, but with complete strangers. In my opinion, that group connection theatre offers is vital to the human experience.

(LF): What’s the funniest line of dialogue for you in Cinderella?

(RD): There’s a bit that starts with “pull my finger”. And yes, I have the same sense of humour as your average 10 year old. That’s all I’ll say for now:)

(LF): What drew you to this role in Cinderella?

(RD): Well–bippity boppity boo!!  I grew up reading this story, so to play the iconic role of the fairy godmother is a gift.

(LF): What are the challenges and rewards of live theatre compared to other forms of acting?

(RD): I think the challenge is the reward—having to repeat the same thing over and over again and keep it fresh each and every time can be hard, but within that structure, there’s a freedom that exists. The reward is when you hit that sweet spot, even if it’s only for a moment.

(LF): What do you think is the biggest misconception people have about working in theatre?

(RD): That theatre people are always living it up. Most of us are quite regimented due to the physical and mental demands of 8 shows a week. I won’t say that we’re boring, but perhaps not as wildly exciting as people might think.

News

For Immediate Release: March Break Family Fun at Lighthouse Festival with Dufflebag Theatre’s Interactive Shows

Posted on December 2, 2024

December 2, 2024 | Port Dover, ON – Get ready for a laugh-out-loud, interactive theatrical adventure this March Break as Lighthouse Festival welcomes the nearly world-famous Dufflebag Theatre for two unforgettable family-friendly performances of Robin Hood and Sleeping Beauty!

These delightfully funny and interactive shows are perfect for kids and parents alike. Tickets are only $17 each, or bring the whole gang with a family four-pack for just $60!

Performance Schedule:

  • Robin Hood: March 11th in Port Dover
  • Sleeping Beauty: March 12th in Port Dover, March 13th in Port Colborne

Dufflebag Theatre brings their signature brand of hilarity, heart, and improvisation to these beloved tales. With a twist: audience members are invited to join the cast on stage to become part of the story! Plus, kids and parents are encouraged to dress up as their favourite fairy-tale or adventure characters to add to the fun.

Robin Hood delivers a rollicking ride through Sherwood Forest as our hero battles the bumbling Sheriff of Nottingham along with Maid Marian—all while stealing from the rich and giving to the poor. Expect sword fights, silly jokes, and a few surprises as the audience becomes part of the Merry Men!

In Sleeping Beauty, witness the chaos when a feisty princess, a trio of wacky fairies, and one not-so-frightening villain collide in a timeless tale of true love—with a comedic twist. Will the prince get lost on the way? Will the audience become the fairy-tale kingdom? You’ll have to come to see!

“Dufflebag Theatre is thrilled to partner with Lighthouse Festival to bring these stories to life in the most unexpected and hilarious ways,” said Marcus Lundgren, Artistic Director of Dufflebag Theatre. “The magic of these performances is how the audience helps create the story—it’s live theatre at its most fun!”

Jane Spence, Artistic Director of Lighthouse Festival, added, “This is a perfect way to enjoy March Break with your family. Dufflebag Theatre’s energy and creativity are unmatched, and we can’t wait to see families in our community laughing, cheering, and dressing up for these shows!”

Don’t miss out on this must-see March Break experience. Tickets are available to the public starting on December 5th, 2024 at lighthousetheatre.com or by calling the box office at 888-779-7703.

Media Contact
For media inquiries and further information, please contact:

Don Kearney-Bourque
Marketing & Communications Manager
Lighthouse Festival Theatre Corporation
don@lighthousetheatre.com
Direct: (226) 290-0070
Cell: (289) 541-7410


News

Meet the cast of Cinderella – The Panto! | Helen Belay as Prince Charming

Posted on December 2, 2024

We chatted with Helen about Cinderella – The Panto!, what are the challenges and rewards of live theatre compared to other forms of acting, what drew her to this role in Cinderella, and what she’d do next if she had a magic wand.

Helen Belay as Prince Charming in Cinderella – The Panto!

Lighthouse Festival (LF): If you had a magic wand, what would you do next after Cinderella?

Helen Belay (HB): There are a variety of pieces I’m interested in, sure, but I’ve also found that the most enticing or special experiences of my career thus far have been the pieces I never saw coming.  I think one of the beautiful things about theatre is the work we’ve yet to see or even dream of.  That said, I also have a soft spot for the classics, so something in the realm of that would be a real treat!

(LF): What will the audience laugh at most during a performance of Cinderella?

(HB): There’s a buffet of laughs to be had, I think!  I’m really enjoying watching the many reworked versions of tunes we all know, and the moments of silliness that run on the ethos of, “More! More! More!”

(LF): What drew you to this role in Cinderella?

(HB): The opportunity to make people laugh.  I’ve always loved laughing and making people laugh, and it’s been a hot minute since I’ve had the chance to do so.

(LF): What are the challenges and rewards of live theatre compared to other forms of acting?

(HB): I think the challenge of theatre lies in the essence of it being live — where there are no second takes, where mistakes must not only just be forgiven, but arguably, celebrated and where the pursuit of spontaneity and “aliveness” are perpetual — but that’s also what’s beautiful.  I was once told that if we’re all doing our job right, the hearts of everyone onstage and offstage, in the audience, are in sync.  Is there anything cooler than that?  That has to be one of my favourite parts of the theatre — feeling and hearing the ensemble and audience, and getting to a place of ease where that dynamic is a dance.

(LF): What’s the biggest challenge about taking on this role?

(HB): Not corpsing when receiving the bounty of delightful offers from the rest of the cast, and not judging myself when heaving my own into the mix!  P.S. For those who might not know, corpsing isn’t anything serious — it just means bursting into laughter when you shouldn’t!  In answering this, I learned that it’s called that because the worst time to burst into laughter is when you’re playing a corpse, hahaha.

News

Review: Cinderella – The Panto! (The Abby Post)

Posted on November 30, 2024

Today I was at Lighthouse Theatre and I watched Cinderella! 

November 29, 2024

The Abby Post

By Abby Mitchell

It was a panto. It is different than other plays.  You are participating in the story.  They ask you questions and you yell things back. 

The stepsisters were very, very, funny.  I really liked the tall sister and my brother liked the short one. 

I liked that there were a lot of jokes. There was also a lot of dancing. 

I really liked the music. They took songs that you knew and changed the words. 

They help tell the story. I like how they sang a song about bananas

The actors came right up to people in audiences and interacted with them. I heard a lot of people laughing the whole time. I like that the audience was singing and dancing. 

I Loved Cinderella. If you want to have a good time for a family night I would suggest going to see Cinderella. It plays in Port Dover until  December  7th. 

Next December there is another panto and it is the Wizard of Oz. I can’t wait to see it. 

Thank you Lighthouse Theatre for inviting me to review Cinderella. 

A very BIG thank you to Abby and her family for coming to Lighthouse Festival today and reviewing our holiday panto! We really appreciate it and we’re so glad you enjoyed the show! – The Staff at Lighthouse Festival

News

Meet the cast of Cinderella – The Panto! | Allan Cooke as Shania

Posted on November 25, 2024

We sat down with Allan to chat about Cinderella – The Panto!, what’s the most rewarding part of his job, and what are the challenges and rewards of live theatre compared to other forms of acting.

Allan Cooke as Shania in Cinderella – The Panto!

Lighthouse Festival (LF): How do you see the role of theatre in today’s society?

Allan Cooke (AC): A lot would depend on the type of show you’re seeing. There’s still great theatre that challenges you to think and see the world in a different way and we need that. But just as important is Panto and comedy and musicals providing pure escapism and entertainment. We probably want more of the latter these days if we feel the world is getting worse!

(LF): What’s the most rewarding part of your job?

(AC): On this gig it’s a tie between having a blast with the cast in the rehearsal room; coming up with silly bits, trying out ideas; and getting on stage, connecting with the audience and getting those laughs.

(LF): What drew you to this role in Cinderella?

(AC): I knew working alongside Sal again it’d be a Master’s Degree in Subtle, Nuanced Restraint, and I’ve been proved right – so much fun. Also, Jonny always gathers a great cast and garners a generous atmosphere for these things and once again he’s pulled the rabbit out the hat.

(LF): What are the challenges and rewards of live theatre compared to other forms of acting?

(AC): On both counts it would be immediate feedback from the audience. They’ll laugh if you’re funny, clap if you;re good, and quickly bring the tumbleweed if it all goes to pot.

(LF): What do you think is the biggest misconception people have about working in theatre?

(AC): Tough one. It might be that people think it looks easier than it is. But then, that’s our job, to make it look effortless, so who’s complaining? In rehearsals, if it does feel like hard work, even as we’re pouring our hearts and mind into it as we do, we might not be doing it right, because the best stuff tends to come from knowing how to play, how to love the process as you engage with it and embracing even the steeper learning curves!

News

‘Approach is working’ to security at Port Dover beach

Posted on November 16, 2024

Satisfied landowners to continue leasing popular private beach to municipality.

By JP Antonacci | Hamilton Spectator

Thursday, November 16th, 2024

Bylaw officers caught hundreds of people breaking the rules at the Port Dover beach over the summer. But the offenders did not pay a dime in fines.

The man in charge of enforcement says that was by design.

“The intent behind this was compliance,” Jim Millson, Norfolk’s manager of bylaw services, told councillors at Wednesday’s meeting.

Instead of issuing tickets, Millson explained, private security guards and Norfolk’s bylaw staff educated beach goers about what is not allowed on the privately owned beach.

Beachgoers enjoy a sunny Saturday on the sand in Port Dover. The owners of the private beach are in favour of welcoming tourists back next summer. Spectator file photo

Warnings and one-on-one discussions worked to change visitors’ behaviour “100 per cent of the time, or very close to that,” Millson said, adding repeat offenders were rare.

“Once the message is passed (on), then everybody is aware,” he said.

This past summer at the popular beach was “generally uneventful,” Millson told councillors, with an average of 18 daily interactions between security personnel and visitors.

Of the approximately 1,200 infractions reported, 515 were warnings to people who wanted to set up an enclosed tent, which are forbidden under the terms of the county’s lease agreement with the beach’s owners.

Another 276 people were told to get their dogs off the beach, while 191 warnings were issued for smoking or vaping, and 141 people were asked to take down large beach umbrellas blocking the view of Lake Erie.

A few dozen complaints covered people drinking alcohol or barbecuing on the sand.

County staff met last month with the beach’s owners, who confirmed they want to continue the lease agreement next summer, albeit with more garbage pickup and security on-site until Sept. 30 rather than Labour Day.

“In general, the feedback was positive and the 2024 season was deemed to be an improvement over previous summer seasons and a success,” Millson’s report read.

Norfolk paid a hair under $78,000 to run the beach this summer. Security was the highest single expense at $20,300, followed by cleaning the beach and renting garbage bins.

Next summer the price tag for bylaw enforcement will jump to $26,600.

Mayor Amy Martin said she understands the education-based approach, but wondered aloud if that commits the municipality to a hefty security bill every summer without seeing any of the cost recouped through fines.

Chief administrative officer Al Meneses said as visitors get the message about what behaviour is acceptable, the need for full-time enforcement on the beach “will likely go down” and the security budget can drop accordingly.

“Compliance seems to be getting better year after year. I think the approach is working,” Meneses said.

“That’s what we felt all along — if people knew the rules, they would abide by the rules.”

J.P. Antonacci’s reporting is funded by the Canadian government through its Local Journalism Initiative. jpantonacci@thespec.com