519 Magazine

[519magazine]

Papa V Perpetua Takes the Helm as Ghost Release New Single

Swedish rock band Ghost has announced their sixth studio album, "Skeletá," set for release on April 25, 2025, via Loma Vista Recordings. This marks their first full-length album since 2022's chart-topping "Impera".The album announcement comes with the release of the first single, "Satanized," which introduces fans to the band's new frontman character, Papa V Perpetua. The music video showcases this new persona who will lead the band through their 2025 touring cycle.Ghost has also launched an interactive experience called "The Satanizer," developed with Jason Zada (creator of Elf Yourself), allowing fans to upload their photos and become part of the "Satanized" music video."Skeletá" represents a shift in the band's creative direction, focusing on introspection rather than the outward-facing themes of previous albums. While "Impera" explored the rise and fall of empires and "Prequelle" examined plagues, this new album delves into personal emotional landscapes.The 10-track album was produced by Gene Walker and mixed by Andy Wallace and Dan Malsch. The complete tracklist includes: - Peacefield - Lachryma - Satanized - Guiding Lights - De Profundis Borealis - Cenotaph - Missilia Amori - Marks of the Evil One - Umbra - ExcelsisGhost will support the album with their "Skeletour World Tour 2025," comprising over 55 dates across Europe, North America, and Mexico. The tour begins April 15 at Manchester's AO Arena and includes the band's first-ever headlining performance at New York's Madison Square Garden.Papa V Perpetua will also make a special appearance at Black Sabbath's final concert on July 5, 2025, at Villa Park in Birmingham, England.All performances will be phone-free experiences, with devices secured in Yondr pouches during the shows. With tickets already selling rapidly, the Skeletour promises to deliver what the Los Angeles Times called "one of the best live acts in the business," continuing to expand Ghost's devoted global following.SKELETÁNew Album Out April 25 via Loma Vista RecordingsFirst Single and Video “Satanized” Out NowSKELETOUR WORLD TOUR 2025 Begins April 15Special Bonus Episode of MORBID Featuring Exclusive Interview Out Friday, March 7 Read the full article

[519magazine]

Mother Mother Returns to London to Canada Life Place in Grand Style and Doesn’t Disappoint!

British Columbia indie rockers Mother Mother hit the stage at Canada Life Place this past Thursday February 27 in what can only be described as a triumphant return to the city of London Ontario. The last time I covered this band in London was May of 2022 at London Music Hall, a great venue but a fraction of the size. Although not sold out, this was a much larger crowd and very enthusiastic.Mother Mother has a passionate fan base with the band’s messages of encouragement and inclusion to those who struggle to fit in with “the norms of society”. There is a real feeling of community at their shows that gives a very uplifting atmosphere. The band, featuring siblings Ryan Guldemond (guitar/vocals) and Molly Guldemond (keyboards/vocals) has been around for 20 years and has steadily grown in popularity. This show was an amazing display of stage presence, theatre and musicianship that rivals the best out there.Along with Jasmin Parkin (vocals/keyboards), Mike Young (bass), and Ali Siadat (drums), Mother Mother performed a whirlwind 90-minute set featuring a mix of hits, deep cuts, and new material. Opening with Nobody Escapes from their latest album, 2024’s Grief Chapter, the group played songs to satisfy every fan’s craving. Popular songs like Arms Tonight, Dirty Town, Burning pile and of course their biggest hit Hayloft and the 2021 sequel Hayloft II.There were a couple covers, The Pixies, The Matrix/Where is My Mind, and Lana Del Ray’s Video Games, as well as a couple fan requests, Monkey Tree and Let’s Fall in Love. An acoustic set on the center stage thrust midway through the show was a nice feature that got fans singing along and swaying their phone lights in the air. Featured acoustic songs were Dirty Town, Neighbour, Wisdom, Ghosting, Little Pistol, and It’s Alright.Molly and Jasmin wore bright Pink and were very animated as they always are, giving a theatrical performance that really complimented the music, which sounded stunning by the way. For an arena show, the sound was amazing, and the band was very tight. It was a very memorable performance. I hope they don’t wait another three years to come back to London. I really love this band!Opening the night were Indie rockers Winnetka Bowling League and English singer-songwriter Cavetown with energetic sets that pumped up the crowd and set the tone for the entire evening. Both bands impressed on all fronts, musically and performance-wise. It was a great night of music where the opening bands perfectly complimented the headliners, and nobody left disappointed.Mother Mother Setlist - Nobody Escapes - Arms Tonite - Hayloft II - The Matrix / Where Is My Mind? - Get Up - Video Games (Lana Del Rey cover) - Explode! - The Drugs - Bit by Bit - Body - Sleep Awake - Dirty Town / Neighbour / Wisdom / Ghosting / Little Pistol / It's Alright - Monkey Tree - Let's Fall in Love - Oh Ana - Wrecking Ball - The Stand - Verbatim - Hayloft - Grief Chapter - Burning PileWinnetka Bowling League - pulp - Come to the Beach - On The 5 - Sha La La - America in Your 20’s - This is Life - CVS - Slow DancesCavetown - Sweet Tooth - 1994 - heart attack - obvious - alone - I'm Low on Gas and You Need a Jacket (Pierce the Veil cover) - let them know they’re on your mind - This Is Home - Boys Will Be Bugs - Devil TownAll photos by Dan BoshartMother Mother:Cavetown:Winnetka Bowling League: Read the full article

[519magazine]

Cirque du Soleil’s Windsor Performances of OVO Blooms with Nature’s Magic

Cirque du Soleil’s OVO has fluttered into Windsor’s WFCU Centre, reimagining its insect-inspired saga with vibrant updates that celebrate nature’s artistry. Running through March 2, this refreshed production—originally staged in 2009—combines Cirque’s signature acrobatics with a lush, wordless narrative about the interconnectedness of life. Directed by Chantal Tremblay, the international cast of 53 transforms the arena into a buzzing ecosystem where crickets vault, spiders contort, and fireflies dance, all under a canopy of bioluminescent flora. Opening night revealed a show that leans into visual storytelling, inviting audiences to marvel at Earth’s smallest wonders through jaw-dropping feats and whimsical design.OVO’s brilliance lies in its ability to weave stories through bodies in motion, a technique that bridges age and language. The romantic chase between a clumsy outsider fly and a spirited ladybug unfolds through playful tumbles and gravity-defying lifts, their chemistry echoing silent-era comedies. Every flutter of a wing or ripple of a limb becomes a sentence in this silent dialogue. Ants march in hypnotic patterns, spiders melt into impossible shapes, and dragonflies balance on trembling bamboo poles—each act mirroring the rhythms of the natural world. By ditching spoken language, Cirque spotlights universal truths about cooperation and survival, themes as old as the soil beneath our feet.The redesigned set immerses viewers in an insect’s-eye view of the world. Towering petals arch overhead like stained glass, while glowing mushrooms pulse to the score—a mix of rainforest percussion and electronic hums. Costumes blend biology with fantasy: beetles shimmer with metallic shells, fireflies wear fiber-optic antennae, and a centipede’s legs multiply through clever layering. Projections add depth, with vines snaking across walls and sudden downpours drenching the stage—a nod to nature’s unpredictability. These elements don’t just decorate; they create a habitat where every acrobatic act feels rooted in ecological logic.Cirque’s performers channel insect agility in routines that blend precision with poetry. The cricket act sees athletes bounding off trampolines to clear a seven-meter wall, their arcs mimicking grasshoppers mid-leap. A dragonfly duo manipulates diabolos (spinning spools) at dizzying speeds, threads slicing the air like windborne seeds. While most acts astonish, a straps routine, though flawless, misses the raw emotional pull of the spider contortionist’s solo—a slow, trembling emergence from silk that mirrors a moth’s first flight. Such moments remind us that nature’s drama needs no embellishment.Amid the spectacle, OVO finds heart in its smaller interactions. A pair of dung beetles steals scenes with a slapstick routine involving a giant “dirt” ball, their antics highlighting nature’s recycling genius. In a quieter moment, an aging mantis wobbles on his perch, his shaking muscles baring the human effort behind the illusion.The lobby buzzes with OVO-themed wares, with profits funding Cirque’s youth arts programs. Budget-minded fans can snag the $25 program book, packed with backstage snaps and interviews. The merch strategy mirrors Cirque’s ethos—extravagant but purposeful, like a peacock spider’s mating dance.Longtime fans will spot updates in the show, but the soul remains intact. What lingers isn’t the height of the flips or the sparkle of costumes—it’s the quiet message. In a world where concrete often overshadows soil, OVO replants our sense of wonder. As golden pollen drifts across the finale, viewers leave not just dazzled but newly aware of life’s delicate web. Cirque reminds us that heroism isn’t reserved for giants; sometimes, it’s in a cricket’s leap or a spider’s patience.Photos by Jimmy Baikovicius (https://www.flickr.com/photos/jikatu/) Read the full article

[519magazine]

Windsor’s The Back Stage Music Venue to Close After 11 Years, Final Show Set for March 15

The Back Stage, a staple of Windsor’s live music scene, will host its final concert on March 15, 2025, after the building’s recent sale ended its 11-year run as a music venue and sports bar. Co-owners Stephanie Farrugia and Brynn Kimble announced the closure in a social media post, stating, “There comes a time when everything runs its course… We would like to thank every band and musician that has ever played The Back Stage”. The venue, located at 1530 Langlois Ave, became a hub for local and touring acts since opening in 2014, hosting genres from hardcore punk to tribute bands like Cancer Bats and Blimbizkit.The closure marks another shift in Windsor’s entertainment landscape, following the relocation of iconic venues like Phog Lounge, which moved to Erie Street after rent hikes downtown. The Back Stage’s final show will feature a return of NO YOKOS, the band that performed at its 2014 debut, with an open invitation for local musicians to join an onstage jam. “Let’s make this a banger,” the owners urged, emphasizing a celebratory sendoff for the space that weathered pandemic restrictions, including capacity limits and midnight curfews that forced last-minute booking changes.The closure highlights the venue’s role in fostering Windsor’s artistic community, noting its reputation for “chair dancing” during COVID-19 protocols and its support for emerging acts. The Back Stage’s exit follows broader challenges for independent venues, as rising rents, soaring expenses and redevelopment reshape the city’s arts scene.No plans have been announced for the Langlois Avenue building’s future use. The Back Stage’s closure leaves fewer mid-sized stages in Windsor, though venues like the relocated Phog Lounge and Craft Heads Brewing’s upcoming Erie Street collaboration aim to fill the gap. For now, the spotlight turns to March 15, when NO YOKOS will helm a final bash that the Facebook post says honors “where we all started” — a full-circle moment for a venue that once echoed with the riffs of a city ready to rock. Read the full article

[519magazine]

Toxic Masculinity Takes Center Stage in Windsor's 'Which Way, Millennial Man?

Toxic masculinity and generational warfare collide in "Which Way, Millennial Man?", a gripping psychological drama that opened this past weekend at Windsor's Shadowbox Theatre. With six remaining performances set for February 27, 28, March 1, 6, 7, and 8, this locally-produced work delves deep into the murky waters of modern male identity. Jonathan Tessier's award-winning drama charts a compelling descent into psychological manipulation that resonates on both personal and societal levels.The psychological landscape of Chris, portrayed with raw vulnerability by Heath Camlis, reveals layers of complexity that unfold like a slow-motion car crash. His factory worker existence represents not just personal stagnation but a broader crisis of identity facing many millennial men caught between traditional masculine ideals and evolving gender dynamics. The character's desperate attempt to find purpose through writing a true crime book becomes a haunting metaphor for the search for validation in a world that seems to have left traditional male roles behind.Joey Ouellette's portrayal of Joe emerges as a study in manipulative charisma, bringing to life a character whose toxic masculinity serves as both beacon and warning. His performance creates a character whose own trauma from his son's actions has calcified into a dangerous philosophy of manhood. The father of a school shooter becomes not just an interview subject but a dark mentor figure, offering Chris a seductive pathway to a more "authentic" masculinity that proves increasingly destructive.Nancy Lefebvre brings depth to Laura, creating a character whose career success becomes both a catalyst for conflict and a reflection of shifting gender dynamics. Her portrayal effectively captures the frustration of watching a partner struggle with direction and purpose. The deterioration of her marriage to Chris develops naturally, highlighting how external influences can affect established relationships.The introduction of Patrick, played with nuanced strength by Ezra Poku-Christian, provides a crucial counterpoint to Joe's toxic influence. His character embodies a more evolved form of masculinity that draws from ancient wisdom while embracing modern sensibilities. Through Patrick, the play explores how true strength often manifests in emotional intelligence and self-control rather than domination and aggression.Director Fay Lynn's staging utilizes the intimate space of the Shadowbox Theatre effectively, creating an environment where psychological tension can build naturally. The production's pacing maintains steady momentum, with each scene adding another layer to the characters' motivations and relationships. The direction particularly succeeds in moments of subtle manipulation, where power dynamics shift beneath seemingly casual conversations.The play's exploration of generational differences avoids simple stereotypes, examining how different eras shape our understanding of identity and worth. Through Chris's journey, we see how generational trauma can be passed down and transformed, creating new cycles of dysfunction. The script thoughtfully considers how societal expectations of masculinity have evolved, while acknowledging the powerful pull of traditional gender roles.The psychological manipulation within the story develops methodically, as Joe works to undermine Chris's relationships and sense of self. The subplot involving suspected infidelity between Laura and Patrick effectively demonstrates how doubt can poison perception. These elements combine to show how vulnerability can become a weapon in the hands of those who understand its power.The production's technical elements work together to support the narrative's psychological elements. Lighting changes reflect Chris's shifting mental state, while the sound design maintains an undercurrent of tension. The minimalist set design keeps focus on the characters' internal struggles, making their psychological battles feel immediate.The play's examination of toxic masculinity offers a balanced perspective, showing how such behaviors can appeal to those struggling with identity and purpose. Through Chris's journey, we witness the appeal of simple answers to complex questions about manhood and worth. The script demonstrates the gradual process of being drawn into destructive patterns while seeking self-discovery.The relationship dynamics between all four characters create an engaging web of motivations and consequences. Each interaction carries multiple layers of meaning, from surface-level conversations to deeper psychological currents. The play effectively shows how past trauma and present insecurity influence future actions.The production's resistance to easy resolution serves the story well, avoiding both tragic ending and simple redemption. Instead, it presents complex questions about influence, identity, and the power of choice. The ambiguity of certain plot elements enhances the psychological realism, reflecting life's complicated nature."Which Way, Millennial Man?" represents a solid addition to Windsor's vibrant theatre scene, demonstrating that provocative explorations of contemporary issues can emerge from our own community. The production at The Shadowbox Theatre continues with six remaining performances on February 27, 28, March 1, 6, 7, and 8, offering local audiences the opportunity to experience this thought-provoking drama. The combination of strong performances and relevant themes creates an engaging evening of theatre that prompts meaningful discussion about masculinity and generational divides in our modern world.Performances take place at The Shadowbox Theatre, located at 1501 Howard Avenue (at the corner of Howard & Shepherd) in Windsor. All shows begin at 8:00 PM, with doors opening at 7:30 PM. Tickets are $25 and can be purchased through postproductionswindsor.ca or at the door (cash, debit, or credit card accepted) if seats are still available. Given the intimate nature of the venue, advance ticket purchase is recommended. Read the full article

[519magazine]

The Legacy of "Don't Stop Believin'" and Windsor's Embrace of the "South Detroit" Identity

Journey’s 1981 anthem Don’t Stop Believin’ has transcended its origins as a rock ballad to become a global cultural touchstone, but its most intriguing legacy lies in an unexpected place: Windsor, Ontario. The song’s reference to “South Detroit”—a fictional locale that geographically aligns with Windsor, has sparked a decades-long relationship between the Canadian city and the track, transforming a lyrical quirk into a symbol of regional pride Let’s sit back and explore how Windsor has claimed the “South Detroit” moniker, weaving it into the fabric of its cultural identity, artistic endeavors, and community spirit.Despite the current tensions spurred on by political alliances across the Canada-US border, brought on by tariffs and 51st State jabs, the brotherhood of “south Detroit” remains forged in 180-Gram Vinyl from 1981.When Journey’s lead vocalist Steve Perry penned the line “Just a city boy, born and raised in South Detroit” in 1980, he prioritized poetic cadence over cartographic accuracy. Detroit’s southernmost region is its downtown core, with the Detroit River separating the city from Windsor, Ontario. The term “South Detroit” exists only in the song’s mythology, yet Perry’s choice resonated globally. In interviews, Perry admitted he selected “South Detroit” for its phonetic appeal, unaware of its nonexistence. His inspiration came from observing “streetlight people” during a Detroit tour stop (which itself is a different story), crafting a narrative of hope and movement that inadvertently tied Windsor to the song’s legacy.Windsor’s geographical position - directly south of Detroit—led locals to jokingly adopt the “South Detroit” label. This playful reclamation gained traction as the song’s popularity surged, particularly after its use in The Sopranos finale (2007) and Glee (2009). Windsorites embraced the misnomer as a badge of honor, celebrating their cross-border kinship with Detroit while carving out a distinct identity. As one resident quipped, “We’re not Detroit - we’re South Detroit”.Windsor’s adoption of Don’t Stop Believin’ reached a fever pitch during the Detroit Lions’ historic 2023-2024 NFL playoff run. For the first time in 32 years, the Lions advanced to the postseason’s second round, igniting regional fervor. Windsor City Council raised the Lions’ flag at City Hall, with Councillor Renaldo Agostino declaring, “We’re showing our brothers and sisters over the border that we’re supporting them. There’s a lot of Lions fans here”. Local bars like Lefty’s on the O and Average Joe’s Sports Bar hosted watch parties, capitalizing on the cross-border camaraderie. The Lions’ success became a unifying force, bridging economic and cultural ties between the two cities.I was so taken by the energy of the “South Detroit” motif that I thought I’d bring it to new heights with the establishment of South Detroit Films, a production company specializing in horror and psychological thrillers. Our 2025 project Avery - a film about a girl linked to her serial killer father - taps into the region’s underdog spirit, mirroring the song’s themes of resilience.Don’t Stop Believin’ has become a staple at Windsor events, from sports rallies to cultural festivals. During Schlegel Villages’ 2024 leadership retreat, 500 attendees sang the song in unison, led by Choir! Choir! Choir! co-founders Nobu Adilman and Daveed Goldman. The performance underscored the track’s unifying power, with Adilman noting, “The energy here is incredible... it’s about believing in something bigger”. Similarly, Windsor’s Pride Fest Parade - a vibrant celebration of 2SLGBTQIA+ pride - has adopted the song as an unofficial anthem, embodying its message of hope amidst adversity.The song’s themes of perseverance have transcended secular contexts, inspiring religious reflections. In a 2023 devotional published by 80’s Church, pastor John Heffron linked the lyrics to Matthew 6:25–27, urging readers to “release worries to God” and embrace faith. Heffron reinterpreted Perry’s “midnight train” as a metaphor for spiritual journeys, stating, “With unwavering belief, we can face any challenge, knowing we’re not alone”. This theological lens demonstrates the song’s adaptability, resonating across belief systems.Windsor’s affinity for Don’t Stop Believin’ reflects its own underdog story. Once reliant on automotive manufacturing, the city has pivoted toward a vibrant arts and culture scene amid economic shifts. The rise of South Detroit Films and events like Pride Fest exemplify this reinvention. As Councillor Jim Morrison remarked during the Lions’ rally, “Detroit’s success feels like our own... it’s about rooting for the underdog”. The song’s refrain - “Don’t stop believin’”- encapsulates Windsor’s resilience, a mantra for a city forging new paths.Windsor, Ontario’s embrace of Don’t Stop Believin’ transcends mere fandom; it represents a cultural reclamation that bridges music, identity, and community. By adopting the “South Detroit” label, Windsor has turned a lyrical oversight into a narrative of belonging, one that celebrates cross-border collaboration and hometown pride. From horror films to football fever, the song’s legacy endures as a testament to the power of art in shaping regional identity. As Steve Perry once mused, “It doesn’t matter if South Detroit exists—it’s emotionally true.” For Windsor, that emotional truth has become a rallying cry, proving that sometimes, belief truly can build a city.Don’t stop. Read the full article

[519magazine]

Explosive New Play Tackles Generational Conflicts

Is it possible for people from different generations to understand each other? And what about those who feel like they don’t fit into any generation at all – what can they choose? What are their options?We hear a lot about generational differences in all of the media that surround us, whether it’s podcasts, videos, movies, TV shows, books, music, memes. Generational differences are such a hot topic that it’s almost impossible to weigh in without falling into cliches. Even the idea of generational differences is a cliché and most of what people say about them is baseless, false, and even meaningless. No matter how much we enjoy the sport of poking fun at older and younger generations the precise boundaries between one generation and another are arbitrary and fuzzy. But it’s possible to make sense of generational conflicts and differences as long as we take everything we hear about them with a grain of salt. It’s true that people raised, say, between 1950 and 1970 were generally raised differently than people raised between 1990 and 2010. Expectations change over time. So do norms and what’s considered “common sense” (“common sense” being shorthand for “the popular biases of our time”). Ideas about parenting, for example, can change radically from one generation to another. It wasn’t that long ago that nearly all parents accepted that sometimes it was appropriate to beat their children. . . as long as they didn’t beat the young ‘uns too much. What was considered “too much” changed from generation to generation as well. There are still some parents who believe this but it’s no longer a mainstream opinion because the last few generations of parents have largely rejected it.One idea that’s changed dramatically over the last seventy or so years is masculinity – in other words, the collection of behaviours and ideas and values that makes someone a man. What used to be considered a pretty mainstream idea of masculinity is now called “toxic masculinity”. Roughly speaking this version of masculinity focuses on aggression, competitiveness, power over others, the conflation of fear with respect, and other norms and behaviours that most people now find objectionable. Although this used to be the most dominant form of masculinity, it was never the only one. There have always been alternative ideas about what it means to be a man, what counts as masculine, and some of these have been more popular than toxic masculinity in certain communities, societies, and cultures. As newer generations increasingly reject toxic masculinity they’re turning to some of the alternatives that have been in circulation and adding to them to create visions of masculinity that are, in their view, more appropriate and less destructive. Yet many people, especially those from older generations, reject these alternatives as feminine. To them anything other than toxic masculinity isn’t masculinity at all.Generational conflict – both in general and about masculinity in particular – are at the heart of Jonathan Tessier’s explosive new drama, Which Way, Millennial Man?. Tessier’s script, which won the 2023 Windsor-Essex Playwriting Contest, tells the story of Chris (played by Heath Camlis). Here we have a man who is both adrift and ambitious. He works a factory job that he hates, and is married to a successful woman named Laura (played by Nancy Lefebvre) who pays most of the bills and makes most of the decisions in their household. He doesn’t really know who he is yet and he feels like he’s running out of time to find out. He certainly wouldn’t claim to anyone that he’s masculine according to any current notion of what that means, though he desperately wants to be. What he wants most is to be taken seriously by his wife and the world. The path to that destination, he’s decided, is to write a true crime book about the father of a school shooter. As the story begins Chris has already spent weeks if not months researching school shootings and those who commit them.Now he has the opportunity to interview Joe (played by Joey Ouellette), whose son Bradley killed 10 students at his school a decade ago before turning the gun on himself. Chris figures Joe can provide unique insights into that horrific event since he’s the one who raised the teenaged shooter. He also thinks he’s got a fresh angle: no one else has written a book focused on the experiences of a parent whose child has committed this kind of atrocity. From Joe’s perspective this is an opportunity of a different sort. He’s felt invisible and unheard for the last ten years. He feels that whenever anyone does give him a thought it’s to blame him for what his son did. Now someone actually wants to hear what he has to say so he’s determined to make the most of the opportunity.It doesn’t take long for Joe’s influence, the power of his personality and his confident old-school masculinity, to exert pressure on Chris. As the interviewing process moves on Chris seems to be increasingly drawn in to Joe’s world and Joe’s way of thinking – in particular drawn to Joe as a role model of masculinity. Joe, to Chris’ mind, is clearly a man. No one would question that. Could it be possible for Chris to become a man as well? The allure of Joe’s toxic masculinity is almost too seductive for Chris to resist.Tessier’s script introduces an alternative for Chris to consider in the form of Patrick (played by Ezra Poku-Christian). Patrick presents a completely different, more modern, idea of masculinity. He’s confident, self-assured, strong, but also compassionate and considerate, assertive without being aggressive. The version of masculinity that Patrick embodies is very old. It would be familiar to many cultures across centuries. As with toxic masculinity it involves power and projection of power – except in this form what matters is power over oneself rather than power over others.The problem is that Joe poisons Chris against even considering the possibility of being the kind of person Patrick is by pointing out that Patrick seems to be having an affair with Laura, Chris’ wife. Evidence appears to be mounting. But is it evidence of an affair. . . or are there more innocent explanations?At its core Which Way, Millennial Man? is the story of two relationships: one that’s falling apart and another that’s growing deeper. The relationship between Chris and Laura is already on the rocks in the very first scene. Laura is on her way up, succeeding in her career, and tired of feeling like Chris’ aimlessness is holding her back. She seems nearly ready to give up on the idea of rebuilding their relationship. But Chris believes there’s still hope for his marriage and is trying in his way to rekindle what he and Laura once had. Which of them is correct? The answer, unfortunately, will depend on Chris’ growing relationship with Joe.Which Way, Millennial Man? by Jonathan Tessier will be performed at The Shadowbox Theatre (1501 Howard ave. – corner of Howard & Shepherd) February 21, 22, 27, 28; March 1, 6, 7 & 8. Showtime 8:00 PM (doors open 7:30). Tickets can be purchased for $25 through postproductionswindsor.ca or at the door (cash, debit, or credit card) if seats are still available. Starring Heath Camlis, Nancy Lefebvre, Joey Ouellette, and Ezra Poku-Christian. Directed by Fay Lynn. Produced by Michael K. Potter and Fay Lynn. Posters and programs designed by Kris Simic. Read the full article

[519magazine]

The Price of Freedom: A Bold New Play Explores Justice, Sacrifice, and Canada’s Role in History

John Anderson - 1860'sArts Collective Theatre (ACT) is set to debut The Price of Freedom, a powerful courtroom drama that explores Canada’s role in the fight for justice during the 1860s. The play tells the true story of John Anderson, a freedom seeker accused of killing a bounty hunter in self-defense. As Anderson faces extradition to the United States, his case becomes a pivotal moment for Canada’s identity as a sanctuary for those fleeing oppression. “This play serves as a crucial reminder of the resilience and courage of those who sought freedom, as well as the complex legal and moral battles that shaped Canada's history,” said Chris Rabideau, ACT’s Artistic Director. “The Price of Freedom brings these stories to life in a way that is both educational and deeply moving.”The play will premiere at Windsor’s Capitol Theatre on Friday, February 28, at 7:30 PM, with additional performances on Saturday, March 1, at 7:30 PM and Sunday, March 2, at 2:00 PM.Developed in collaboration with the Amherstburg Freedom Museum as part of its 50th-anniversary celebrations, The Price of Freedom is more than just a theatrical production—it is an educational journey. “For the past 50 years, the Amherstburg Freedom Museum has educated people about the rich, underrepresented history of Black Canadians,” said Monty Logan, President of the museum. “It has been our pleasure to collaborate with Arts Collective Theatre to bring the important, true story of John Anderson—freedom seeker, former Windsor resident, and nationally significant historical figure—to the stage.”The idea for The Price of Freedom originated during a February 2024 meeting between ACT board members and Amherstburg Freedom Museum leaders. Barbara Porter, Vice Chair of the Amherstburg Freedom Museum Board of Directors, proposed creating a theatrical piece to commemorate the museum’s anniversary. “Our collaboration with Arts Collective Theatre to produce The Price of Freedom fits well with the Amherstburg Freedom Museum's focus on Black history and universal inspiration,” Porter explained. “This original play will educate people about the risks assumed by the ancestors who traveled the Underground Railroad to freedom but also promote courageous conversations about racism, intolerance, justice, and equity in the present day.”Carlos Anthony was brought on board as playwright after being recommended by historian Irene Moore Davis. Although Anthony had never written a play before, he embraced the challenge wholeheartedly. During a visit to the Amherstburg Freedom Museum with ACT team members, Anthony discovered John Anderson’s story and knew it was one that needed to be told.Historical accuracy was crucial throughout the development process. Historians Irene Moore Davis and Elise Harding-Davis provided guidance during multiple script revisions to ensure authenticity while addressing modern sensitivities around language and representation. Harding-Davis emphasized her philosophy: “Without Black history—history is incomplete.”In addition to its historical focus, The Price of Freedom features original music composed by Ian Smith, an award-winning Canadian composer with over three decades of experience in theatre and film. His compositions aim to enhance key moments in the narrative while immersing audiences in its historical setting.Casting for The Price of Freedom began in January 2025, with auditions drawing participants from ACT workshops as well as local talent from Windsor-Essex County. Carlos Anthony himself stepped into the role of John Anderson after being encouraged by Rabideau to take on this central character.Rehearsals began shortly after casting was finalized and were structured as collaborative workshops where actors could contribute feedback to refine their characters and scenes. According to ACT’s materials: “The play evolved through an ongoing dialogue between cast members, historians, and our creative team,” Rabideau explained.The production design reflects its dual purpose as both historical drama and educational tool. A multi-level set facilitates seamless transitions between courtroom scenes and flashbacks while period-accurate costumes transport viewers back to 19th-century Canada.At its heart, The Price of Freedom explores relationships that underscore themes of trust, solidarity, and sacrifice. Moya McAlister described one key relationship: “The relationship between John Anderson and his lawyer Samuel Freeman is vital because it explores themes of racial tension and mistrust that come from systemic oppression… Through this relationship, we wanted to bring forward the complexity of working within systems that don't have the interests of marginalized groups at heart.”Another central relationship is between Anderson and Robert Sutherland—the first Black lawyer in Canada—which McAlister described as offering hope but also reflecting systemic limitations: “John has never seen a Black lawyer before… The relationship between John and Robert offers hope… but it's also bittersweet because of the limitations Robert faces within the legal system at the time.”Beyond its public performances, ACT will host a special student showing on Thursday, February 27 at 10:15 am, followed by a panel discussion featuring local historians and educators from Windsor-Essex County schools. Dr. Clara Howitt praised this initiative: “The curriculum connections, social justice themes, and historical significance make this a rich learning experience for students.”To further enhance its educational impact, ACT has collaborated with local school boards to create classroom resources that complement themes from The Price of Freedom. These resources include lesson plans designed to foster critical discussions about Black history in Canada while encouraging students to draw connections between past struggles for justice and contemporary issues.Don’t miss this powerful production at Windsor’s Capitol Theatre from February 28 to March 2! Tickets are $33 for adults and $30 for students and seniors, and can be purchased online or at the Capitol Theatre box office during operating hours—secure your seat today for an unforgettable journey through history! For more information about The Price of Freedom, visit actwindsor.com or contact Moya McAlister at [email protected] or [phone]. Read the full article

[519magazine]

Post Productions 'First Night' Sparkles Brighter in Second Coming

As twinkling lights dance through Windsor's winter sky and the scent of pine and peppermint fills the crisp December air, Post Productions' revival of "First Night" at The Shadowbox Theatre emerges as a heartwarming gift wrapped in nostalgia and sprinkled with holiday magic. The romantic comedy, set against the backdrop of a video store on New Year's Eve 1995, proves that some presents are worth unwrapping twice, with this year's production adding deeper layers of emotional resonance and charm. With only one weekend remaining in its current run, this enchanting tale of second chances has become an unexpected seasonal treasure.Michael K. Potter and Fay Lynn, now a decade older than their characters' original ages, bring a profound gravitas to Danny Fleming and Meredith O'Connor that wasn't present in last year's staging. Their decision to age the characters to 44-45 adds a compelling urgency to the romantic tension, making the stakes feel considerably higher. The natural chemistry between the real-life engaged couple infuses every scene with authentic emotional depth.The reimagined set design transforms the intimate space into a warmer, cozier environment, with rich browns and reds creating the atmosphere of a converted home-turned-video-store. This thoughtful adjustment from last year's more commercial setting provides a perfect cocoon for the story's intimate moments to unfold. The careful attention to period detail, from the meticulously curated VHS collection to the holiday decorations, grounds the production in both time and place.Potter's portrayal of Danny Fleming has evolved significantly, finding new nuances in the directionless video store clerk's character. His performance masterfully balances self-deprecating humor with an underlying current of regret, creating a more complex character study than in the previous year's production. The actor's deeper understanding of Danny's journey manifests in subtle gestures and carefully measured pauses that speak volumes.Lynn's interpretation of Meredith O'Connor has grown more nuanced, bringing a palpable sense of determination to the former nun's quest for happiness. Her performance artfully navigates the fine line between romantic yearning and mid-life crisis, creating a character whose urgency feels both genuine and poignant. The actor's connection to the role has deepened, resulting in moments of raw vulnerability that resonate with striking authenticity.The production's increased emotional intensity and faster pacing prove to be inspired directorial choices. These adjustments allow the significant romantic moments to land with greater impact, creating a delicate balance between comedy and pathos. The strategic pauses in the dialogue now carry more weight, giving audiences time to absorb the emotional undercurrents.Jack Neary's script, rich with references to Hollywood's golden age romantic comedies, finds new life in this reimagining. The snappy banter between Danny and Meredith flows with increased naturalism, while the structural homages to classic films feel more organic than ever. The dialogue crackles with renewed energy, particularly in the characters' discussions about vintage cinema.The decision to set the play in 1995 now feels more purposeful than ever, creating a perfect temporal distance for examining life choices and second chances. The video store setting, complete with its physical artifacts of storytelling, serves as both a literal and metaphorical time capsule. This year's production mines deeper meaning from this nostalgic backdrop.This production succeeds in the challenging task of maintaining the charm of the original while discovering fresh emotional territories to explore. The careful balance of humor and heart creates an experience that feels both familiar and revelatory. The show manages to honor its previous incarnation while charting its own distinct course.As the final weekend approaches, the production demonstrates that with thoughtful adjustments and deeper character exploration, a familiar story can reveal new truths. This holiday season offering proves that some stories, like the best Christmas classics, only improve with repeated viewings. First Night continues at The Shadowbox Theatre Dec. 19-21. $5 from every ticket sold to First Night will be donated to Abode Respite Services – a Windsor-based non-profit that helps people with disabilities live with greater independence, freedom, and dignity. Read the full article

[519magazine]

The S'Aints: $750,000 Raised and Still Rocking for Change

In a world where saints and sinners collide on stage, Windsor's beloved supergroup The S’Aints are proving that rock 'n' roll salvation comes with a charitable twist. They transform traditional holiday tunes into electrifying rock anthems, all while fighting hunger in their community. With twelve albums under their belt since 2012 and nearly $750,000 raised for local food banks, these musical missionaries are preparing to once again turn Caesars Windsor's Colosseum into a sanctuary of sound and social change on December 20."What we try to do is bring about a 50-50 kind of approach... 50% Christmas songs and 50% feel good rock 'n' roll Classics," reveals frontman Jody Raffoul, hinting at a mysterious new element in this year's show that has him particularly excited. Four sentences about the anticipation building around the upcoming performance, while maintaining the secrecy Raffoul insists upon.At the heart of this musical crusade stands Raffoul himself, whose philanthropic spirit runs deep in his Lebanese roots. "My parents came here in 1958 and 1959. They had nothing but a lot of heart and a lot of grind and they worked as labourers in the fields during the day and at night they worked in factories. They helped people, do the same thing that they did by giving them a hand up as they settled in over here in this great new place called Canada".Behind the scenes, the band's preparation has been under way for a while. "When the end of October comes around, we start focusing on two months preparation for The S’Aints operation," Raffoul explains, noting St. Clair College's crucial support in making it all possible. The coordination of ten busy musicians becomes a logistical symphony in itself, with each member juggling professional commitments. Despite the scheduling challenges, their dedication to the cause never wavers.The musical chemistry of The S’Aints is a carefully crafted blend of talent. "Kelly Howl and Wes Buckley have such phenomenal ears. They figure out a lot of what the background vocals are doing," Raffoul shares. The band's approach to arranging combines Beatles-inspired harmonies with Mr. Chill's signature wind instruments, creating a unique sonic landscape. Jeff Burrows, the drummer, serves as the group's anchor, "making everything make sense when it gets a little thick in the room."Speaking of Buckley, Raffoul can't contain his admiration: "Wes is the most talented human being I have ever met in my life, at everything in life!" The Detroit-based laser engineer, who started jamming with Raffoul in 2001, has grown from having two grandchildren to twelve, all while maintaining his role as the band's Swiss Army knife of talent. His ability to solve any problem, from complex harmonies to mechanical fixes, has earned him legendary status among his bandmates.The rhythm section boasts Jeff Burrows, whose rockstar pedigree is matched only by his work ethic. "He puts his nose to the grind and is no nonsense," Raffoul emphasizes. Alongside Jeff, David "Jean Guy" Cyrenne, affectionately known as "Pants" for his superior fashion sense, provides both musical talent and a rehearsal space at his recording studio. Their foundation allows the band to explore new musical territories while maintaining their signature sound.This year's concert features special guests that add extra sparkle to the holiday spectacular. The Windsor Optimist Youth Band drumline, The Horns of Dilemma, and Walkerville Collegiate Institute's string section join forces with The S’Aints, creating an unprecedented musical collaboration. The addition of The Sinners Choir promises to elevate the performance to new heights, making this year's show a true community celebration.Kelly "Mr. Chill" Hoppe, pushing 70, stands as a testament to musical dedication. "He is the hardest working person in our band when it comes to figuring their parts out," Raffoul declares. His mastery of wind instruments and harmonica playing has earned him admiration from rockstars across the spectrum. Despite his veteran status, he consistently outworks his younger bandmates, bringing both professionalism and showmanship to every performance.The female powerhouse of the band includes Kelly Howell, whose perfect pitch and cruise ship experience brings a professional edge to the ensemble. "She puts the 'A'int' in S'Aints!" Raffoul exclaims. The Twisted Sisters - Elizabeth Robinson and Stephanie Baker - complete the vocal harmony section, bringing their natural talents and Beatles-inspired arrangements to the mix. Their contributions extend beyond music, with Robinson famously bringing her mother's treats to rehearsals.Marty Bak, the band's recording specialist, emerges as another crucial piece of the puzzle. "Marty is one of the hardest working men I've ever met in this crazy business of music," Raffoul shares. His technical expertise and dedication have helped the group produce twelve albums since 2012, each capturing the unique energy of their holiday interpretations.Jim O'Neill, the newest addition to the lineup, brings two decades of Windsor performance experience to his role as lead guitarist. His versatility in different guitar styles and untapped background vocal abilities add fresh possibilities to the band's evolving sound. His reliability and positive attitude have quickly made him an integral part of the ensemble.The concert's charitable impact continues to grow, with nearly $750,000 raised since its inception. However, the need remains pressing. "It saddens me to say this, but the harsh reality is that it has gotten worse... There are more and more hungry people in our area than there have ever been," Raffoul reflects, his voice carrying genuine concern.This year's performance promises a mix of traditional holiday favorites and feel-good rock classics. "Honestly, in my opinion, the songs are great spiritual lifting tunes that aren't necessarily your everyday Christmas songs; such as Share the Land from The Guess Who or All You Need is Love from The Beatles," Raffoul explains. The band's innovative arrangements transform familiar tunes into fresh, energetic performances.The logistics of bringing together such a large ensemble presents its own challenges. "Coordinating schedules is absolutely one of the most difficult things we do as a group," Raffoul admits. Despite the complexities, the band members prioritize these performances, understanding their significance to the community.St. Clair College's support proves instrumental in making the annual event possible. Their partnership, along with media sponsor AM800 and community partners Devonshire Mall and Liuna625!, creates a foundation for the concert's success. The collaboration ensures that 100% of ticket proceeds directly benefit local food banks.For Raffoul, the motivation runs deep in his immigrant roots. His parents' journey from Lebanon in the late 1950s instilled values of giving back and community support. Their example of working in fields by day and factories by night, while helping other newcomers, continues to inspire his commitment to charitable causes.The concert's impact extends beyond immediate food bank support. It creates a ripple effect of community engagement, bringing together multiple generations of musicians and audiences. The inclusion of student performers from Walkerville Collegiate Institute demonstrates the event's role in nurturing future talent while addressing present needs.Looking toward the future, Raffoul remains passionate about the mission. "I don't give a shit who you are, if you have a lot, you should share. We're not here for that long, we should share a lot more for sure," he states with characteristic directness. His philosophy reflects the band's collective commitment to using their musical gifts for community benefit.As The S’Aints prepare to take the stage at Caesars Windsor's Colosseum on December 20, they carry forward a tradition that appears to have no end. The combination of rock 'n' roll spirit, holiday cheer, and charitable purpose creates an event that exemplifies the best of Windsor's artistic and philanthropic communities. In Raffoul's words, "Being able to help the people who need it the most, getting together with my brothers and sisters in this group every holiday season... All of that inspires me."Tickets are available at Ticketmaster. Read the full article

[519magazine]

First Night Combines Hope, Love, and Holiday Cheer with Combative Romantic Comedy

Shortly after Halloween each year, whether you think it’s too early or not early enough, the sights and sounds of the holiday season emerge from hibernation. The first time you realize that song playing on the radio or the loud speakers in the supermarket is White Christmas or Jingle Bells something predictable begins to happen. Your mind recedes into the past. You begin to think about the Christmases and New Years Eves of your childhood, of your early adulthood, of last year and the year before. This emersion in memory builds each day, often bringing with it other memories not directly connected to the holidays. These are the memories of people you might have wished you spent holidays with, the longings and pinnings of yesteryear that bind your experiences together.Let’s say the melancholic melody of Have Yourself a Merry Little Christmas leads you to remember a holiday season years ago, when you were say 13 or 14 – a holiday season that was dominated by the thoughts of a girl you wished you were spending the holidays with. Remembering that hormone-laden adolescent wistfulness brings with it flashes of memories from prior months. The memory of the way her braces gleamed under the florescent lights of the school cafeteria. The sound of her laugh when you passed by her in the hallway, where she stood chatting with friends. The feeling of her shoulder against yours as you knelt together in front of a coffin at the school janitor’s wake.The holidays tend to remind us of these kinds of experiences, of all the things that could have been and never were, all the things that didn’t happen no matter how hard you prayed for them. You might start to wonder, “What if there’s still hope? What if this possibility isn’t just a remnant from the past but a forecast of what could still occur?” Sometimes that kind of hope is what keeps us going. Sometimes it’s our undoing. Sometimes it’s reasonable and sometimes it’s madness – and you can’t always tell which one you’re experiencing.This is the situation both characters face in First Night by Jack Neary, which opens at The Shadowbox Theatre on December 6th. It’s 1995. Danny Flemming (played by Michael K. Potter) works at a small video rental shop somewhere in New England. He’s worked there for a year-and-a-half after spending the twenty-odd years since college bouncing between uninspiring jobs. He’s directionless, rudderless. But he’s content working at the video shop because he can indulge his love of movies – especially classics from Hollywood’s Golden Age, the sorts of movies that starred people like Spencer Tracy and Claudette Colbert. The comfortable rut of his life is shaken on New Year’s Eve – called “First Night” in New England – when Meredith O’Connor (played by Fay Lynn) appears in the store. You see many years ago back in the eight grade Danny had the sort of intense crush on Meredith that only teenagers can have. But she didn’t seem to know he existed. And then, instead of going on to high school with Danny and the rest of their schoolmates, she ran off to a convent and became a nun. He hasn’t seen her in thirty years.Unbeknownst to Danny, Meredith also had an intense crush on him during the eight grade and she, too, believed that Danny barely knew she existed. Uncertain of how to cope with her feelings and searching for direction she decided to devote her life to God. But things didn’t work out the way she’d planned. Over the years she began to believe that maybe in her youth what she thought was a decision to run toward something might have been a decision to run away instead. She never forgot about Danny. This New Year’s Eve she’s decided to throw caution to the wind and finally discover whether that teenage crush from thirty years ago could become the relationship she hadn’t been able to admit she’d wanted.First Night is an odd sort of play, one of the only adult-oriented holiday-themed romantic comedies ever written for the stage. It combines the combative flirtation of romantic comedies from the 1950s with a modern edge, without sacrificing the hope and warmth that people want from a holiday play. Since Post Productions first produced this play last year the company has been inundated with requests to bring it back – not only from those who saw it (some more than once) but also those who didn’t have a chance to see it and found out from their friends what they’d missed. So, for the first time in its history, Post Productions decided to remount a play they’d already produced. We hope you’ll enjoy it as much as audiences did last year. Find out for yourself what happens between Meredith and Danny. Is Meredith crazy to think that a teenage crush can become a real relationship – especially after thirty years of life has been wedged between then and now? The journey is as satisfying as the destination.First Night by Jack Neary will be performed at The Shadowbox Theatre (1501 Howard ave. – corner of Howard & Shepherd) December 6, 7, 12, 13, 14, 19, 20 & 21. Showtime 8:00 PM (doors open 7:30). Tickets can be purchased for $25 through postproductionswindsor.ca or at the door (cash, debit, or credit card) if seats are still available. The play is produced by, directed by, and stars Fay Lynn and Michael K. Potter. Posters and programs designed by Kris Simic. Presented by Post Productions in association with Windsor Feminist Theatre. NOTE: $5 from every ticket sold will be donated to Abode Respite Services. Read the full article

[519magazine]

Windsor Light Delivers Christmas Magic in Spectacular Musical Gift

Deck the halls and pass the meatloaf - Windsor Light Music Theatre unwrapped an early Christmas gift that sparkles brighter than the Old Man's leg lamp! Their production of "A Christmas Story: The Musical" transforms the Chrysler Theatre into a winter wonderland where childhood dreams and family foibles collide in a heartwarming spectacle that has audiences grinning from ear to ear. Under Matthew Dumouchel's playful direction, this musical adaptation captures all the quirky charm of the beloved film while adding enough theatrical razzle-dazzle to fill Santa's sleigh twice over.The show's beating heart lies in its perfectly-cast ensemble, led by the charismatic Clinton Anderson as Jean Shepherd, who guides us through this nostalgic wonderland with the warmth of a favorite uncle sharing stories by the fireplace. Christopher Dawson and James Fleming alternate as young Ralphie, each bringing their own brand of wide-eyed determination to the boy who dreams of finding a Red Ryder BB gun under the tree. Kara Kootstra radiates maternal wisdom as Mother, while Jason Andrew turns The Old Man's furnace battles and "fra-gee-lay" moments into comic gold. Jimmy Morvay steals scenes as the bundle-wrapped Randy, and Kathy Roberts brings delightful severity to Miss Shields, especially in her fantasy tap number.The production soars on the strength of its ensemble work, with standouts like Annelise Olivito (Schwartz) and Hayley Pinske (Esther Jane) leading a talented youth brigade through numbers like "When You're a Wimp" and "Ralphie to the Rescue." The adult ensemble, including Alex Alejandria and Rose Barton, transforms from neighbors to cowboys to leg lamp chorus members with the speed of Santa's reindeer, while the specialized dance teams (featuring Adam Beckett, Dayna Cornwall, and Marissa Dodich) kick the show's big numbers into high gear.Diana Cuckovic's choreography turns every fantasy sequence into a holiday treat, while Nicholas Morvay's musical direction ensures the score sparkles like fresh snow. The show's technical elements work holiday magic, from the fully-realized Parker home (complete with temperamental furnace) to the collection of scene-stealing leg lamps that would make the Old Man proud.The production's two knockout numbers come in the form of "A Major Award" and "Sticky Situation," each transformed into full-scale Broadway spectacles that would make Busby Berkeley proud. The leg lamp celebration features a precision-drilled corps of dancers (Adam Beckett, Dayna Cornwall, Marissa Dodich, and company) executing intricate choreography with the infamous illuminated prize, while the flagpole sequence explodes into a show-stopping extravaganza with tap dancers Dayna Cornwall, Marissa Dodich, and Mario Muscedere leading an ensemble that turns playground peril into pure theatrical magic. Both numbers showcase Diana Cuckovic's inventive choreography, with the full company deploying everything from kick lines to complex formation changes that fill every inch of the Chrysler Theatre stage.Even the four-legged cast members get into the spirit, with Morty the Bullmastiff and Marcus the Heinz 57 bringing controlled chaos to the Bumpus hounds' turkey-stealing shenanigans. The production numbers pop with energy, particularly the show-stopping "A Major Award" and the hilarious "Sticky Situation" at the flagpole.This yuletide treat served up more fun than a triple-dog-dare and twice the heart of any department store Santa. WLMT has created a holiday celebration that reminds us why we fell in love with Ralphie's story in the first place - and why live theater still makes the season bright. Read the full article

[519magazine]

Windsor Light Music Theatre Unwraps A Christmas Story

In a season already stuffed like a holiday turkey with Christmas fare, Windsor Light Music Theatre is betting big on nostalgia - and they're not shooting their eye out. This musical adaptation of the beloved classic promises to deliver more than just pink bunny suits and frozen flagpoles - it's bringing a blizzard of theatrical magic to The Chrysler Theatre. With performances starting this weekend, running November 15-24, audiences are invited to step back into a nostalgic Christmas wonderland that promises laughter, heart, and the magic of live theater.In a season already stuffed like a holiday turkey with Christmas fare, Windsor Light Music Theatre is betting big on nostalgia - and they're not shooting their eye out. This musical adaptation of the beloved classic promises to deliver more than just pink bunny suits and frozen flagpoles - it's bringing a blizzard of theatrical magic to The Chrysler Theatre. With performances starting this weekend, running November 15-24, audiences are invited to step back into a nostalgic Christmas wonderland that promises laughter, heart, and the magic of live theater.In the director's chair, Matthew Dumouchel doesn't just bring vision - he brings the warmth of personal memory that glows as bright as any leg lamp. "I was drawn to this project because of my own family traditions of watching A Christmas Story during the holidays," he reveals, his vision extending beyond mere recreation to "invigorate the joy this timeless story brings to life in a way that celebrates the warmth and nostalgia of the season."Like finding the perfect Christmas gift, casting Ralphie required both inspiration and ingenuity. "We needed someone who could handle a heavy workload, show dedication to their craft, and bring the entire ensemble together," Dumouchel explains. Christopher Dawson and James Fleming share the coveted role, with "Christopher capturing Ralphie's curiosity and innocence, while James leans into his adventurous and slightly mischievous side."Behind the curtain, technical wizardry transforms the stage into a slice of 1940s Indiana. "The most challenging aspect has been creating a fully functioning, dimensional house on stage," Dumouchel shares. "If you are coming in to see a true house on stage, you will be pleasantly surprised with our ambitious goals paying off and then some."The production's artistic team orchestrates a symphony of movement and music that would make Higbee's Department Store proud. "Diana focused on creating choreography that matched the playful, whimsical spirit of the story while ensuring each dance number was as energetic and entertaining as it was meaningful," Dumouchel explains. "Nicholas crafted a musical direction that highlighted the show's rich, original score, written by Justin Paul and Benj Pasek."The musical heartbeat of the show pulses with contemporary Broadway pedigree. "The musical score stands out due to its heartwarming melodies and lively, original songs that embody the essence of Christmas while enhancing the story's emotional richness," Dumouchel notes. "The duo skillfully intertwines humor, joy, and sentiment in each piece, ensuring their music aligns beautifully with the film's nostalgic moments."In the props department, creativity shines brighter than the Parkers' front window display. "Our amazing props department worked wonders by creating over 13 unique leg lamps, each designed for specific staging purposes using a 3D model," Dumouchel reveals. Each illuminated limb serves as a testament to the production's attention to detail.Like preparing for Christmas morning, the rehearsal process demanded dedication and patience. "Rehearsals kicked off in June, with our cast meeting twice weekly," shares Dumouchel. "We started by learning the music, then gradually layered in choreography and stage blocking. The children have been right there with us every step of the way, and we couldn't be prouder of their dedication."The costume shop buzzes with activity rivaling Santa's workshop. "With 39 actors portraying a variety of characters throughout the show, we utilize over 200 unique costumes that enhance the carefully crafted set design," Dumouchel explains. Each thread and button helps weave the tapestry of this nostalgic world.Even the four-legged cast members bring their own holiday spirit. "We had the unique privilege of working with two dogs during the rehearsal process—Morty, a Bull Mastiff, and Marcus, a Heinz 57," Dumouchel shares. These canine thespians add an element of unpredictable charm to the Bumpus hounds' scenes.The show's centerpiece number sparkles like Christmas lights on fresh snow. "The most challenging musical number in our production is A Major Award, the pivotal moment when the Old Man wins the infamous leg lamp trophy," Dumouchel reveals. This showstopper promises to elevate the iconic moment to new theatrical heights.Stage magic comes alive through clever engineering and theatrical sleight-of-hand. "We've had the opportunity to design several trap and trick doors within our house set," Dumouchel explains, transforming the static structure into a living, breathing part of the storytelling.The multi-generational ensemble creates an authentic slice of small-town life. "Our cast of 39 on-stage actors spans a wide age range, from 7 years old to over 50," notes Dumouchel. This diverse tapestry of performers brings genuine warmth to every scene.Classic moments from the film receive theatrical reinvention worthy of Radio Hour Orphan Annie. "Through skillful direction and intentional choreography, local Windsor performers have meticulously prepared for iconic moments like the flagpole tongue-stick and the leg lamp scene," Dumouchel shares. Each beloved scene springs to life "in a larger than life fashion."The costume design wraps the production in period authenticity. "The blend of fabrics, colors, and textures creates a rich, immersive atmosphere that transports the audience directly to the 1940s," Dumouchel explains. Every bow and button tells its own story.Behind the scenes, community spirit powers this theatrical celebration. "Thanks to the efforts of over 100 dedicated volunteers, we've been able to incorporate immense detail into every piece," Dumouchel proudly notes. This army of helpers ensures no tinsel goes unturned.The production extends its welcome to all audiences on November 22nd. "We are committed to making theater accessible for our community," Dumouchel shares, highlighting their partnership with Stage Hands Windsor for ASL interpretation that promises to be "comprehensive and creatively aligned with the show's energy."Like unwrapping a familiar gift in surprising paper, the show balances tradition with innovation. "While this musical is adapted from the movie and closely follows its storyline, it offers new layers of charm and excitement," Dumouchel explains, promising fresh perspectives on cherished moments.As the curtain prepares to rise, Dumouchel's holiday wish comes into focus. "We hope that audiences leave this production with a heart full of holiday cheer and a renewed sense of the importance of family," he shares. "Beyond the laughter and iconic moments, we want everyone to feel the warmth of togetherness and the joy of tradition, just like Ralphie and his family."This yuletide celebration runs November 15-24 at The Chrysler Theatre, promising to transport audiences to "a time when family was at the center of every tradition." Don't shoot your eye out missing this one.Visit: www.windsorlight.com/achristmasstory Read the full article

[519magazine]

Southwestern Ontario Braces for Filming of Chilling New Horror Flick 'Avery'

[519magazine]

The Rinsing Witch Brews Up Dark Comedy for Halloween Season

[519magazine]

519 Magazine Issue #72 with The HU

The latest issue of 519 Magazine has arrived, spotlighting an eclectic mix of international and local artists. Our cover story features an in-depth interview with Mongolian rock sensation The HU. Inside, readers will find exclusive conversations with death metal icons The Black Dahlia Murder, rising stars Unto Others, legendary UFO frontman Phil Mogg, iconic drummer Steve Luongo, filmmaker Gavin Michael Booth, Garrett Neiles, Dark Tranquility, April Art, High Parasite, Tony Stevens, and Windsor indie artist Paige Ashley. Read it today to immerse yourself in the vibrant music and arts scene.

[519magazine]

August Kyss: A Tantalizing Tour de Force in Independent Cinema

With her undeniable talent, captivating screen presence, and a work ethic that would make even the most seasoned professionals envious, August Kyss is quickly becoming one of the most exciting actresses to watch. This Canadian bombshell is not just a pretty face; she's a multi-faceted artist who's making her mark in the entertainment world as an actress, producer, and director. As her star continues to rise, fans can't get enough of Kyss' magnetic performances and the tantalizing projects she has in store.Kyss' journey in the entertainment industry has been a testament to her dedication and passion for her craft. She's had the opportunity to work with a diverse range of talented individuals, from horror icons to WWE legends. "I've been incredibly fortunate to work with so many talented people," Kyss gushes. "From Felissa Rose and Lynn Lowry to Bret 'The Hitman' Hart, every project has been a learning experience and a chance to grow as an artist."One of Kyss' most memorable recent roles was in the action-packed thriller "Death Bitch," where she portrayed Kimberly Wells, a fearless reporter who refuses to be intimidated by anti-establishment thugs. "It was a unique opportunity for me to shoot in my home city and to see my family whom I had not seen since before the pandemic," Kyss shares. "I really enjoyed spending time with my dad for those four days and I was so happy to be doing an action movie because it was a first-time thing for me."Kyss' role in "Flesh of the Unforgiven" showcased her ability to tackle emotionally complex characters. As Vivenne, a broken-hearted and soon-to-be divorcee, searching for reasons to stay alive, Kyss had to dig deep within herself to bring the character to life. "I had to go to a place where all my efforts were fruitless, and I would never achieve my dreams because I just wasn't good enough. That brought on the tears and emotion because it came from real vulnerability on my part," Kyss reveals.Fans can look forward to seeing Kyss in a variety of exciting upcoming projects that showcase her versatility as an actress. She'll be filming the drama "Not a Love Story," based on a true story about a young girl who survived sexual assault, drug addiction, and suicidal thoughts. "I feel like it's a story that a lot of people can relate to since life literally is 'not a love story'. The film showcases real-life issues but overall is a female empowerment story," Kyss explains.Kyss recently wrapped two features with Toronto director Nigel Hartwell - "Demented Two," which delves into the horrors of the Dark Web, and "The Massage Parlour Massacre," in which she played the lead role of an eccentric massage parlour owner. "Massage Parlour Massacre was one of the most enjoyable experiences I have had on set," Kyss shares. "Demented was a tough role for me to play: I played a victim, and it made me go to shadowy places as an actress, but I am super thankful for the experience."This past June, Kyss had a great time shooting in Chilliwack and beautiful Vancouver, British Columbia for Warren Dean Fulton's first feature film "Daedalus Melon in Rebel Bikers vs. Vampires from Venus." She was a co-lead in this film and enjoyed the larger-than-life story about vampires, clowns, werewolves, and time travel. "I met some nice people on set, and I keep in touch with them including Tristan Risk (American Mary) and Cynthia Loewen (The Unforgiveable)," Kyss shares.In July, Kyss played Scarlett Van Helsing, also known as Didi Canuck, in "Sex Crazed Vampire Strippers from Mars," which is part of the student grindhouse line up in writer/director Mark Cantu's feature film "Grind." "The name Scarlet Van Helsing is fitting since I was hunting 'sex crazed vampires' lol. This was a unique opportunity for me since I oversaw the second unit production and directed my segment," Kyss explains. "It was both fun and challenging."Kyss has also landed a small role in the horror/comedy "Only Fangs" starring Ginger Lynn Allen and is excited to work once again with A&P Productions from her hit film Murdercise. "The film follows a wannabe monster slayer who creates a new app and helps a team of vampires find their new victims. I will be filming my segment this November," Kyss shares. "Ginger Lynn is now a frequent collaborator, but I have yet to meet her in person."A unique opportunity coming this December for Kyss is a horror hosting show on NYX TV Canada. She will be the host of "Dark Rewind," a complete throwback to 80's horror movies. "Corrine Ferguson runs Canada's Only 24/7 Horror TV channel, which is one hundred percent free. 'Dark Rewind' will be filmed in Edmonton, Alberta," Kyss explains. "This is also really important to me, because I get to direct and write the entire show and have some really cool ideas. I am super stoked for it!"Kyss is attached to the horror comedy "High Voltage Horror" starring Mitch Markowitz for this fall. The film is produced by SFX geniuses, The Butcher Shop FX Studio and Rabidog Films. "We will be filming in Hamilton, Ontario. The film is a naked gun style film. I play a vivacious character named Pamela Summers," Kyss shares. "I am just getting through the script now and am excited to work with these awesome Ontario locals."https://www.youtube.com/watch?v=x7v9ToatlCwOne production lined up for Kyss next winter is "A Farewell to Youth" starring Larry Thomas and possibly Matty Cardarople. The film is about a young biracial man named Jack, who was once a promising film student but is now a washed-up addict clinging to his fading youth. "Jack is forced to confront his past mistakes and learn what it truly means to be a father. It is a story of friendship, family ties and second chances. A true coming of age, male positive story," Kyss explains.Kyss' accomplishments in such a short time have not gone unnoticed. "I hear it from my manager all the time, 'You've accomplished so much in such a short time.' I do realize it and am very thankful. It is such a tough industry and being in Canada makes it even tougher," Kyss shares. "When I got the phone call from Keith 'Tattness' McCleary (former heavyweight MMA fighter) that he was going to induct me into his hall of fame I was super happy, and a bit paused over with surprise. Me? Kind of surreal to say the least."Kyss credits her agent, Samantha Rose, and her manager for helping her navigate the industry. "I have been working hard with the help of my agent, Samantha Rose (The Casting Solution). She has been helping a lot by getting me auditions, and my manager also helps a lot by referring me to other filmmakers - and by telling me all the industry dos and don'ts," Kyss explains. "I also must give praise to my mentor David Bond (Dark Elegy Films) who encouraged me to get into this industry in the first place."Despite her success, Kyss recognizes that she still has a long way to go in her career. "I still have a long way to go and so many more mountains to climb, I'm sure," she shares. To unwind from her extroverted work, Kyss becomes introverted in her personal life. "Because my work is so extroverted I unwind by becoming introverted. I really need that alone time at home doing nothing to refresh my brain," she explains.Kyss learned the importance of taking breaks and self-care the hard way. "There was a period in May/June where I was really working myself sick. I had to learn that it is okay to take breaks, and a tired brain will not perform as well as a rested brain," she shares. "I am also still practicing not engaging with networking or anything work-related after 5pm. It is super hard to stick to."For Kyss, self-improvement is all about learning. "Although I love the entertainment industry, there is so much more to me than being an actor. I am an avid animal lover and enjoy spending time in nature," she shares. "I am also very interested in spiritualism, and I enjoy listening to podcasts about life after death and near-death experiences. I also enjoy reading and educating myself on social issues."Kyss follows a pescetarian diet, which includes eggs and some dairy, for health reasons. "I don't buy dairy to keep at home and I rarely buy eggs, but it does help me with nutrients. There was a time when I was a vegan, but that diet really didn't work for me since I am a bit of a scatterbrain and forget to take supplements often," she explains. "The whole veganism thing started when I educated myself about how animals are slaughtered. Being such a huge animal lover it was impossible for me to continue eating meat. I still feel guilty about eating fish. It can be a struggle."https://www.youtube.com/watch?v=0V3k-9NRqn4Writing and storytelling are Kyss' first loves. "I would say without a doubt that writing and storytelling is my first love," she shares. "I wrote my first novel in 2022, and it got published with Harper Collins Canada. The title of the novel is, 'InnerCity Girl Like Me'.""InnerCity Girl Like Me" follows a group of young girls who grow up in the inner city of Winnipeg, surrounded by gang members and petty crimes. "The novel was not based on my own experiences, but rather from a mixture of stories I heard while growing up and my own vivid imagination. Winnipeg, which can be a rough city, harbours a lot of darkness," Kyss explains. "When I wrote it, I was trying to show the world a side of it but in a fictional sort of way."The female characters in "InnerCity Girl Like Me" served as a fantasy world for Kyss during her own rough times in high school. "I also created the female characters as a fantasy world for myself to be protected in as a teen. There were some rough times in high school for me for sure. It would have been nice to have friends like Maria, Jessica, Gina and Violet to protect me back then," she shares."InnerCity Girl Like Me" has been optioned with Original Pictures and is currently in development. "I am so excited to tell my own stories on the big screen. It's ultimately what I have always wanted too to do but was not confident enough; but I am not letting fears paralyze me this time," Kyss shares.Kyss recognizes the importance of having support and mentors in the film industry. "Film-making and even acting is not something you can really do alone. You really do need back up and mentors, because there are certainly some bad seeds out there that will waste your time or even worse," she explains. "I am lucky that I have a solid group of film makers in my circle now who have my back and vice-versa."Kyss' dream is to have an Alfred Hitchcock style show one day with all creations written and directed by herself. In terms of film genre, she doesn't have a preference. "Yes, I love horror but that is not a make-or-break deal for me when it comes to signing on to a project. As much as I like slashers, I would love to be cast in an aesthetically beautiful horror film. Think, Bram Stoker's Dracula, directed by Francis Ford Coppola," she shares. "I am also very interested in doing more comedy and drama. Comedy because I love to laugh and usually at my own jokes - yes, I am one of those people - and drama because I love a good solid story."Kyss' Portuguese heritage has influenced her a lot. "It was something I use to shy away from as a kid because I wanted to be more like the little Ukrainian and Polish girls in school with the pretty blonde hair and blue eyes; but I have slowly and surely come to love my heritage. It is so culturally diverse in cuisine and has a lot of fascinating history," she shares. "I am very interested in making films in Portugal using Portuguese actors and crew and submitting them to tier one festivals alongside my mentor, David Bond."Kyss has some advice for anyone starting out in the entertainment industry: "Don't Give Up." She explains, "There are a lot of people who will tell you its impossible. It's true, it's very hard but if you work at it every day you will build results. Even if that day your biggest accomplishment is being an extra on a student film or sending out your actor's resume and headshots to agencies you know most likely won't take you, it's something. Those little somethings will add up eventually and will blossom into achievements."https://www.youtube.com/watch?v=PDowwCEFGuw