April 28, 2026

Lighthouse Festival

By Don Kearney-Bourque, Marketing & Communications Manager

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There’s something about Newfoundland & Labrador that feels a little larger than life, and the perfect endpoint for Barb Scheffler’s play, The Beaver Club.

Maybe it’s the cliffs that drop dramatically into the Atlantic. Maybe it’s the houses painted in every colour imaginable, like a box of crayons spilled happily along the coastline. Or maybe it’s the people; quick with a joke, generous with a story, and always ready to point you toward the nearest cup of tea (or something stronger).

Whatever it is, Newfoundland has a way of pulling you in. And, as it turns out, it makes the perfect destination, not just for travellers, but for four fearless women at the centre of The Beaver Club, the hilarious season opener at Lighthouse Festival.

Because when you’re planning the ultimate cross-country road trip from Toronto to… Dildo, Newfoundland (yes, that Dildo), you don’t exactly pick somewhere boring to land.

Icebergs, Whales, and “Is This Even Real?”

Let’s start with the showstoppers.

Every spring and early summer, massive icebergs drift down along Newfoundland’s coast in what’s affectionately known as “Iceberg Alley.” These aren’t your average ice cubes; they’re ancient, sculptural giants, carved by time and ocean currents, glowing an impossible blue against the sea.

You can spot them from shore. You can boat right up to them. You can stare at them for an unreasonable amount of time while saying things like, “This can’t be real,” and “I think I just felt something spiritually.”

And just when you think it can’t get any better – enter the whales.

Newfoundland is one of the best places in the world for whale watching, especially humpbacks. They breach, they splash, they generally put on a show that would make any theatre production jealous (we said any, not every, let’s not get carried away).

It’s not hard to imagine the characters in The Beaver Club pulling over mid-road trip, abandoning all plans, and collectively losing their minds at the sight of a whale flipping its tail like it knows it has an audience.

Jellybean Rows and Picture-Perfect Streets

If Newfoundland were a painting, someone clearly turned the saturation all the way up.

In St. John’s and many coastal communities, you’ll find the famous “Jellybean Row” houses – bright, cheerful homes painted in bold colours that seem to defy grey skies and foggy mornings. It’s as if the buildings themselves decided that a little weather wasn’t going to dull their personality.

And that’s kind of the whole vibe of Newfoundland.

There’s a warmth here that goes beyond the scenery. People talk to you. Strangers become acquaintances, and acquaintances become friends in the time it takes to share a laugh.

Which, if you’ve met the women of The Beaver Club, feels oddly familiar.

Because at its heart, that play isn’t just about the destination; it’s about connection. It’s about the stories we tell, the ones we maybe shouldn’t tell, and the friendships that somehow survive all of it.

Newfoundland just happens to be the perfect backdrop for that kind of honesty.

Standing on Signal Hill (and Feeling Very Small in the Best Way)

If you want a view that makes you pause mid-sentence, head to Signal Hill.

Overlooking St. John’s harbour, this historic site is where Guglielmo Marconi received the first transatlantic wireless signal in 1901. Which is impressive. But also, if we’re being honest, you’ll be a bit distracted by the sweeping ocean views, the rugged cliffs, and the feeling that you’ve stepped into a postcard.

It’s the kind of place that invites reflection. Or, depending on your personality, dramatic declarations.

Or, if you’re part of The Beaver Club, possibly a loud group debate about snacks, life choices, or who’s been holding onto that one story for far too long.

Gros Morne National Park: Nature Showing Off

Then there’s Gros Morne National Park, a UNESCO World Heritage Site that feels like several different planets stitched together.

You’ve got fjords carved by glaciers, mountains that rise straight out of the earth, and the Tablelands; a surreal, rust-coloured landscape that looks more like Mars than Atlantic Canada.

It’s the kind of place where you can hike, boat, wander, and occasionally stop just to say, “Okay, but how is this all in one place?”

And again, it’s easy to imagine our four road-tripping friends here – equal parts awe-struck and slightly unprepared, possibly arguing over directions while standing in one of the most breathtaking locations in the country.

Because that’s the beauty of both travel and theatre: the mix of the extraordinary and the very, very human.

Vikings, History, and “Wait… Vikings?”

Yes, Vikings.

At L’Anse aux Meadows, you’ll find the remains of a Norse settlement dating back over 1,000 years – the only confirmed Viking site in North America.

It’s one of those places that quietly shifts your perspective. You’re standing on the edge of the continent, looking out at the same ocean those early explorers crossed, and suddenly history feels a lot less distant.

Also, it’s just objectively cool to say, “I went to a Viking settlement today.”

Would the women of The Beaver Club make it all the way up here on their road trip? Hard to say.

Would they intend to? Absolutely.

Would they get sidetracked, take a wrong turn, or spend too long in a roadside diner telling stories and laughing until closing time?

Also absolutely.

And Then… Dildo

Of course, we can’t talk about Newfoundland, or The Beaver Club, without talking about Dildo.

Yes, it’s real. Yes, it’s charming. And yes, it’s the final destination for one of the most delightfully chaotic road trips you’ll ever witness on stage.

In real life, Dildo is a small, scenic community with a beautiful harbour, friendly locals, and the kind of coastal views that remind you why people fall in love with Newfoundland in the first place.

In The Beaver Club, it becomes something more.

It’s the finish line. The punchline. The place where everything, every argument, every laugh, every confession, finally lands.

And like any great destination, it’s not just about getting there.

It’s about everything that happens along the way.

Why Newfoundland (and This Play) Just Work

There’s a reason Newfoundland feels like the perfect ending point for The Beaver Club.

It’s bold. It’s beautiful. It doesn’t take itself too seriously, but it also knows exactly who it is.

Sound familiar?

Because that’s the spirit of the play, too.

Four women pile into a car and set off across the country, bringing with them all the chaos, humour, and heart that real friendship demands. It’s messy. It’s loud. It’s laugh-out-loud funny. And underneath it all, it’s deeply human.

Newfoundland mirrors that energy.

It’s a place where you can stand in awe of an iceberg, laugh with a stranger, hike through a landscape that doesn’t feel real, and end your day in a town with a name that will absolutely make you giggle.

It invites you to experience everything fully; no holding back.

Which, if you think about it, is exactly what The Beaver Club is asking you to do.

No Road Trip Required (We’ve Got You Covered)

The good news?

You don’t actually have to drive across the country to get a taste of this journey.

The Beaver Club brings the spirit of Newfoundland and Labrador, and the unforgettable ride it takes to get there, right to the stage at Lighthouse Festival.

All the laughter. All the chaos. All the moments that make you think, “Yep, that’s exactly what my friends would do.”

No GPS required.

(Though if you do feel inspired to plan your own road trip afterward… we won’t stop you.)

Newfoundland is a place that stays with you.

And so is a great story.

Luckily, this summer, you get both.

The Beaver Club plays on the Lighthouse Theatre stage in Port Dover from May 27 to June 13 and at Roselawn Theatre in Port Colborne from June 17 to 28. For tickets, click the link below or call the box office at 888-779-7703.

April 17, 2026

Lighthouse Festival

By Don Kearney-Bourque, Marketing & Communications Manager

There are many ways a play can begin. A line of dialogue. A character voice that won’t leave you alone. A question that nags until it becomes a story. In the case of The Beaver Club, the journey began, fittingly enough, with a long stretch of being stuck in one place.

For Canadian playwright Barb Scheffler, the spark came during the early days of the pandemic. Like so many artists, she suddenly found herself grounded, her touring schedule halted mid-stride. “I was about to start a tour with Menopause the Musical when everything shut down,” she recalls. “We had to go home… and after staring at the walls for a while, I needed something to do.”

That “something” turned into everything.

Scheffler joined an online collective of women writers, an aptly named group called Act Three, and began flexing her creative muscles again. Around the same time, she participated in a Zoom reading of an American play featuring four women from across the United States. It was, perhaps, the final nudge she needed.

“I remember thinking out loud, ‘Why aren’t we doing Canadian plays about Canadian women?’” she says. “And then I made the mistake, or maybe the promise, of saying I could probably write something funnier.”

Her fellow writers called her bluff.

“So I did.”

What followed was the first draft of The Beaver Club, a play that would grow into a hilarious, heartfelt, and unmistakably Canadian road trip comedy – one that now kicks off Lighthouse Festival’s 2026 season.

Not Your Classic Comedy Setup

At first glance, The Beaver Club might look like a classic comedy setup: four women pile into a car and head off on a cross-country adventure from Toronto to Dildo, Newfoundland. There are snacks (questionable), pit stops (unpredictable), and conversations (unfiltered). But beneath the laughs lies a question that gives the play its emotional engine.

“What’s next?”

Or, as Scheffler puts it: “Where am I going now?”

Each of the women in The Beaver Club is navigating a turning point. Life, as it has a habit of doing, has shifted; sometimes gently, sometimes not. And while the journey across Canada provides the backdrop, the real movement is happening internally.

“They’re all trying to figure out who they are at this stage in their lives,” Scheffler explains. “And in many ways, their biggest obstacle is themselves.”

Which, as anyone who has ever taken a road trip with friends or family can attest, is both deeply relatable and highly combustible.

Strong Personalities & Real-Life Solutions

Writing an ensemble of strong personalities is no small feat, and Scheffler admits that one character in particular proved especially tricky: Radiance.

“Radiance is a free spirit,” she says. “She doesn’t seem to have a care in the world. And that’s fun, but dramatically, it’s a problem. You need to give her something at stake.”

The solution came from real life. A story shared by a friend about an older sister unexpectedly being offered a place in a seniors’ home, an offer that landed more like a disruption than a gift, gave Scheffler the thread she needed to ground Radiance’s journey in something deeper.

It’s a perfect example of how The Beaver Club balances its tone. For every laugh-out-loud moment, there’s a flicker of recognition. For every absurd roadside anecdote, there’s a truth that lands just a little closer to home.

And there were, apparently, many more anecdotes where those came from.

“I had to cut a lot of stories about Radiance randomly bumping into famous people,” Scheffler admits. “Which was heartbreaking, honestly.”

But fans of the play need not worry. Those stories may yet see the light of day.

“I’m writing a sequel,” she adds, “where the women travel west. So I can bring some of those moments back.”

The road, it seems, continues.

Deep Connection & Authenticity

Scheffler’s connection to the material runs deep. Before turning her focus to writing, she spent years touring across Canada as a performer—often, as it happens, in cars filled with other women.

“You spend hours together,” she says. “Talking about your lives, driving each other a little crazy, and laughing – a lot. That dynamic really stayed with me.”

It’s that lived-in authenticity that gives The Beaver Club its warmth. The characters don’t feel invented so much as remembered, drawn not just from Scheffler’s own experiences, but from the stories shared by the women around her.

“I’m incredibly grateful to all the women who have trusted me with their stories,” she says.

That gratitude shows up in the writing, particularly in Scheffler’s ongoing commitment to creating complex, layered female characters, especially older women, who are too often sidelined or simplified on stage.

“We have so many interesting stories to tell,” she says. “And I think audiences are ready for them.”

O, Canada!

Of course, no road trip is complete without a sense of place, and The Beaver Club proudly wears its Canadian identity.

“This play is really a love letter to Canada,” Scheffler says. “All of the places the women visit are real, and I paid close attention to geography to make sure it all made sense.”

That attention to detail pays off, grounding the comedy in a recognizably Canadian landscape. For some of the characters, revisiting certain locations becomes a form of catharsis – a way of processing the past while navigating the present.

And for audiences? It might just spark a little wanderlust.

“I’ve been to almost all the places mentioned in the play,” Scheffler adds. “And I highly recommend taking your own Beaver Club tour.”

Consider it both a theatrical experience and a travel suggestion.

But is it Finished?

As with any creative work, knowing when to stop can be one of the hardest parts. For Scheffler, finishing a script is less a decisive moment and more a gradual surrender.

“I always feel like I could make it better,” she admits. “Even after two productions of The Beaver Club, I was still making small tweaks.”

But at a certain point, you have to let the play live its own life.

“I think I can finally say I’m happy with it now,” she says—with just enough hesitation to suggest she might still change a line or two if given the chance

So what does she hope audiences take away from the experience?

Laughter, certainly. Recognition, ideally. And maybe, on the drive home, a conversation or two.

“I love when people tell me which character they identify with,” Scheffler says. “That’s always so interesting to hear.”

More than anything, though, she hopes the play leaves audiences with a sense of connection.

“That we’re better off when we support each other,” she says. “That’s really at the heart of it.”

It’s a simple idea. But like the best road trips and the best comedies, it’s the kind that stays with you long after the journey ends.

The Beaver Club plays on the Lighthouse Theatre stage in Port Dover from May 27 to June 13 and at Roselawn Theatre in Port Colborne from June 17 to 28. For tickets, click the link below or call the box office at 888-779-7703.

April 24, 2026

Lighthouse Festival

By Don Kearney-Bourque, Marketing & Communications Manager – Lighthouse Festival

When acclaimed Canadian playwright Drew Hayden Taylor set out to write Crees in the Caribbean, he wasn’t chasing spectacle or high drama. Instead, he began with something quieter, and far more personal: the idea of an Elder love story.

“I wanted to do an Elder’s love story and comedy,” Taylor explains. “I know plenty of older people who have never been out of the country, and I thought this might be an interesting way to approach telling an old-fashioned love story.”

That initial spark leads to a story that unfolds far from home, as longtime couple Evie and Cecil navigate an unfamiliar world. But while the setting may be vibrant and new, the emotional core of the play is rooted in something universal: relationships, and the quiet tensions that live inside them.

A Mystery Beneath the Sunshine

At the heart of the play lies a deceptively simple dramatic question: why is Cecil so unhappy?

“He’s on an amazing adventure but seems unwilling to enjoy it,” Taylor says.

That tension fuels the story. While Evie embraces the excitement of travel and the opportunity to experience something new, Cecil remains guarded, even irritable. The contrast between them creates both humour and emotional depth, inviting audiences to look beyond the surface of their interactions.

Writing Love, Frustration, and Connection

For Taylor, Evie’s journey proved particularly challenging to write.

“How does she put up with such a cranky old man?” he asks. “It’s not until the end that you see the connection between the two.”

That slow reveal is central to the play’s impact. What may initially read as frustration or incompatibility gradually transforms into something more layered and meaningful.

Taylor also points to the character of Manuela as a challenge, noting that writing outside one’s own lived experience requires care and curiosity. “I don’t know a lot about the life of Mexican maids,” he admits, highlighting the responsibility that comes with portraying characters from different cultural contexts.

At its core, Crees in the Caribbean is driven by desire; simple, relatable, and deeply human.

Evie wants to enjoy the trip. More than that, she wants Cecil to enjoy it too. Cecil, however, is distracted by a lingering suspicion that there is another reason behind their journey – something unspoken that continues to weigh on him. That emotional push and pull creates a dynamic that is both funny and poignant. As Taylor puts it, “Evie wants to have a good time… but Cecil’s being a bit of an ass about it.”

The play’s origins are rooted in Taylor’s own experiences. “I’ve been to Mexico many times,” he says. “I would frequently wonder how my grandparents would react. To the best of my knowledge, they never left the country. That was the genesis.”

That “what if” became the foundation for a story that explores not just travel, but perspective and how stepping outside one’s comfort zone can reveal both new possibilities and long-buried truths.

Choosing Joy

While Taylor has long been known for exploring a wide range of themes in his work, he is intentional about balancing tone. “I like going back and forth between comedies and dramas,” he explains. “I’ve seen so many dark and bleak stories of Indigenous life. I frequently like to present a more positive and enjoyable peek at our lives.” That choice is reflected in Crees in the Caribbean, which blends humour with heart, offering audiences a story that is both entertaining and emotionally resonant.

Taylor’s work often returns to certain recurring ideas; chief among them, the “fish out of water” narrative. “Those stories are always fun,” he says. “Also, providing a window for other cultures to see how we live, and vice versa.” Though the play is set in Mexico, Taylor notes that its story could unfold almost anywhere. The physical setting shapes the characters’ behaviour, but the emotional journey remains universal.

When asked what he hopes audiences will take away after seeing the play, Taylor points to the central relationship between Evie and Cecil. “Definitely their relationship. What will happen next?” he says. “I want them to feel sad, but to remember some of the humour of their relationship.” It’s that balance – between laughter and reflection – that defines the play’s lasting impact.

Telling Stories Truthfully

As an Indigenous playwright, Taylor is often asked how he approaches storytelling to avoid stereotypes or external expectations. His answer is simple.

“Instinct. I am a storyteller,” he says. “I realize the world is the audience. I write stories that tell a truthful perspective. I can’t do anything else.”

In Crees in the Caribbean, that instinct yields a story that is honest, humorous, and deeply human; one that invites audiences not just to laugh but to recognize themselves in the journey.

Crees in the Caribbean hits the Lighthouse Theatre stage in Port Dover from June 17 to July 4 and at Roselawn Theatre in Port Colborne from July 8 to July 19. For tickets, visit lighthousetheatre.com or call the box office at 888-779-7703.

About Drew Hayden Taylor

An Ojibway from the Curve Lake First Nations in Ontario, Drew Hayden Taylor has worn many hats in his literary career, from performing stand-up comedy at the Kennedy Center in Washington D.C., to being Artistic Director of Canada’s premiere Native theatre company, Native Earth Performing Arts. He has been an award-winning playwright, a journalist/columnist (appearing regularly in several Canadian newspapers and magazines), short-story writer, novelist, television scriptwriter, and has worked on numerous documentaries exploring the Native experience. Most notably as a filmmaker, he wrote and directed REDSKINS, TRICKSTERS AND PUPPY STEW, a documentary on Native humour for the National Film Board of Canada, and for CBC, co-created SEARCHING FOR WINNITOU, an exploration of Germany’s fascination with North American Indigenous culture. 2 years later he followed it up with the documentary COTTAGERS AND INDIANS, about Indigenous/non-Indigenous conflicts over land and water issues. Most recently, THE PRETENDIANS aired, exploring the phenomenon of non-Native people claiming Indigenous heritage.

April 14, 2026

Port Dover Maple Leaf

By Donna McMillan

HUNTING down costumes, from ball gowns and tuxedos to cowboy gear and saloon gal corsets, Don Kearney-Bourque had his job cut out for him as costume designer for Lighthouse Festival’s 2026 Community Show Curtains, which opened last Friday to a standing ovation and runs through this weekend.

Mr. Kearney-Bourque said he picked up 350 items on a limited budget from pd thrifts, Second to None, the Lighthouse Theatre (Festival) and Simcoe Little Theatre wardrobe stores, his own closet, and more. Some members of the 21-person cast have seven costume changes throughout the performance, he said.

Mr. Kearney-Bourque, who is marketing and communications manager at Lighthouse Festival, finds volunteering in live theatre thrilling. He enjoyed giving his free time to getting cowboy hats, 1950s pajamas, and mermaid regalia for cast members. 

To prepare for this behind-the-scenes role, Mr. Kearney-Bourque needed to read the play, interpret the look and feel actors required for each scene, and make adjustments to ensure the actors’ costumes work during the choreography, he shared. Costumes must allow for movement and not be too tight to hinder the singing of tunes. “In the beginning, you are very imaginative and then some practically comes in,” he said. 

It can be overwhelming planning costumes from the ’50s, costumes needed for the play within the play, and all the accompanying accessories, such as earrings, necklaces, kerchiefs, blacksmith gear, cowboy hats, headdresses, riverboat costumes, and fish-scale stockings. And all the clothing must fit the sizes and shapes of the actors. 
“We sewed stuff too,” Mr. Kearney-Bourque added. Melinda Campbell, who does hair and makeup for Simcoe Little Theatre, held a session with actors on ’50s hairstyles, he shared. 

Mr. Kearney-Bourque said that mood boards were made for each actor. Necessary accessories are placed in boxes for each, with instructions on what to wear and when. All the clothing was labelled and stored as it was collected. This week, the clothing racks are in the dressing rooms. 

Mr. Kearney-Bourque has performed on stage in a community play and found it nerve-racking. But volunteering his own time for this creative side of the performance energized him. 
“I like being a part of it,” he said. “It was fun planning all of it.”

For tickets to Curtains, visit the box office at the corner of Main and Market streets in Port Dover, go to lighthousetheatre.com, or call the box office at 519-583-2221 or 1-888-779-7703. 

April 13, 2026

Port Dover Maple Leaf

By Donna McMillan

The annual and always-anticipated Community Show at Lighthouse Theatre opened last Friday evening and received a standing ovation. Twenty-one actors from the community had been rehearsing the play Curtains three times a week since the beginning of December. Behind the scenes, another large group of volunteers organized stage management, costume design, set design and props, music, choreography, and other technical aspects of the production. The show’s director is Lighthouse interim artistic producer David Leyshon. The play runs until April 26.

Curtains “is a combination of two things audiences always love,” Mr. Leyshon said. “It’s a murder mystery musical that is fun and energizing for the audiences.” 

A reception was held in the theatre’s lobby after Friday’s opening night show. Many of the cast and crew gathered spontaneously for a group photo as family, friends, and audience members cheered their success.

For tickets to Curtains, visit the box office at the corner of Main and Market streets in Port Dover, go to lighthousetheatre.com, or call the box office at 519-583-2221 or 1-888-779-7703. 

April 2, 2026

Port Dover Maple Leaf

By Donna McMillan

It takes a village of creative people to showcase the annual and much-anticipated community show at Lighthouse Theatre. Twenty-one actors have been rehearsing three times a week since the beginning of December for Curtains, which runs from April 10 to April 26. Behind the scenes are director David Leyshon and a host of others working around stage management, costume design, set design and props, music, choreography, and all technical aspects required for the production.

Curtains “is a combination of two things audiences always love,” Mr. Leyshon said. “It’s a murder mystery musical that is fun and energizing for the audiences.” 

Heather Reichheld of Jarvis is the stage manager for Curtains—her 11th community play in that role since 2014. She attends auditions in November and is at rehearsals three times per week for months. She is responsible for communicating with the cast and crew regarding times, changes, and a myriad of other directions.

The director oversees the play until opening night. Following that, the stage manager keeps the show running smoothly and deals with any crises, she said. In addition to the rehearsal time, Ms. Reichheld spends three to four hours or more per week on paperwork and communications. It’s a volunteer job of love, she shared.

She pointed out that when she started in theatre and stage management, she was working with a cassette player and a slider lighting board. “Now, you just press buttons,” she said. 

Ms. Reichheld first became involved in theatre while acting on stage during her high school years. She was in a couple of shows but did not feel comfortable being on stage, she said. When her husband, Brian Reichheld, was performing in a Simcoe Little Theatre production around the time they married, she jumped at an opportunity to work backstage. Mr. Reichheld also performs in Lighthouse Festival community plays, including Curtains. 

Ms. Reichheld said she has been involved in 50 plays at SLT. She also worked with former Lighthouse artistic director Robert More on Jesus Christ Superstar and Joseph and the Amazing Technicolor Dreamcoat at Lighthouse Theatre, she said. In 2014, she worked with Derek Ritschel, Lighthouse Festival’s former artistic director, on Drowsy Chaperone, the first of many community shows on which they collaborated. She said that she felt fortunate to be offered plenty of on-the-job training opportunities, including working as an apprentice stage manager for three regular-season performances. 

Ms. Reichheld said she is enjoying Curtains, calling it a wonderful murder mystery musical with great songs. The biggest challenge is between rehearsals and the beginning of the show, she shared. Everyone is ensuring everything is ready: lights, sound, props, costumes, actors’ lines, and more. She looks forward to seeing it all come together on stage, offering lots of laughs to the audience, she said.

Other members of the creative team include: Val Smith, assistant director; Katie Edwards, dance consultant; Michelle and Tony Proracki, musical directors; Hailey Parker, technical director; Don Kearney-Bourque, costume designer; Crystal Stephens, assistant stage manager/wardrobe; Sabrina Pringle, assistant technical director; Mary Keefe, wardrobe; Stephanie Grant, wardrobe; Andy Dominick, head technician; Alice Barnett, production manager; Rob Ciccotelli, assistant stage manager; Grace McFarland, set design. 

For tickets to Curtains, visit the box office at the corner of Main and Market streets in Port Dover, go to lighthousetheatre.com, or call the box office at 519-583-2221 or 1-888-779-7703.