Author Archives: fordhampr

NEW CANADIAN MUSICAL LAUNCHES IN TORONTO MARCH 17- “KATHRYN: A LIFE ALMOSTING”

I was thrilled when playwright/lyricist Andrew Faiz reached out and asked me to help promote his new musical play, KATHRYN: A LIFE ALMOSTING that runs March 17 to April 5 at Toronto’s Red Sandcastle Theatre, 922 Queen St East. It tells the real-life story of Canadian-born 50’s/60’s Broadway star Kathryn Albertson, from the bright lights of the great NYC theatres and jazz salons through her struggles with alcoholism and her fragile relationship with daughter Kathleen. It’s a story of reinvention and endurance told through an original score by brilliant young composer Zahra Faiz, Andrew’s own daughter. It’s a love letter to songs and the singer, as well as the enduring bond between a mother and daughter. Sadly there is little info or even photos of Kathryn on the web…she’s practically disappeared from showbiz history books – but this play should certainly re-establish her in her rightful spotlight.

I spoke with Andrew, Zahra, renowned chanteuse Tanya Wills who portrays Kathryn and Kylee Martinez who plays daughter Kathleen (and also accompanies Tanya/Kathryn on piano throughout the show) and celebrated director Joanne Latimer. Let’s start with Andrew’s (pictured below) thoughts on Kathryn….You have such a varied background in theatre, news media, hospitality…quite the entrepreneur. What attracts you to Toronto’s theatre scene? It was once said that Toronto had the third largest theatre community behind New York and London. I don’t know if that is true, but today’s Toronto’s theatre scene is very very vibrant. There are so many stories being told by so many different people.

I recently saw a fantastic version of Tracy Lett’s Bug done by a collective of 20-something actors, in a walk-up theatre space across from a dentist’s office. Theatre makers in this city are telling unique, original, re-interpreted, dynamic stories in whatever space they can find.
The Red Sandcastle is in a retail storefront space. I did a play there more than a decade ago. It’s an intimate space for 50 people.I try to get out to as many shows as I can. I think there’s a real renaissance of collective storytelling happening in my hometown. It’s very exciting.

What first inspired you to create the musical play on Kathryn Albertson? What were your first impressions when you first met her. Two decades ago, when I did Kathryn As Herself, At Last, with Kathryn Albertson I had written a song to close the show. She refused to sing it. She had been sober about thirty years by then, but for her singing was associated with drinking. If she couldn’t do one, she couldn’t do the other.I talked to her about making a musical of the play, inserting tunes from the Great Songbook into her story. We discussed what actresses might be perfect. That was in 2005 or so. Kathryn died in 2010. In 2023, when I finally sat down to write it, I couldn’t find the perfect songs to insert into the script. So, I started writing them. I asked Kathryn once what it was like to be in New York in the late-1950s. She replied, “Oh, Andrew, it was great. I was young, I was beautiful, I was on Broadway.” That was the first song I wrote.

What makes this show relevant to today’s audiences? The play I did with Kathryn two decades ago was a telling of her life. This musical is about her relationship with her daughter. I don’t want to give too much away, but Kathryn’s sickness, her alcoholism, nearly destroyed her daughter. While this is a one-woman play, the daughter is present on the stage. She is the piano accompanist, and also a character interacting with Kathryn. The play works on two levels: You see the perspective of an older woman telling her life story; at the same time, you see the perspective of a woman in her mid-20s looking at an older woman telling her life story. It all comes together emotionally and spiritually in the second act. The catharsis is powerful. It is a mother-daughter play. It provides a view forward for young people. And a view backwards for older people. Just a look between Tanya Wills and Kylee Martinez is a powerful moment.

I then asked Tanya Wills about her portrayal of Kathryn…..

Did you do any research into Kathryn’s life and career in preparation? Yes, I did. This has been a show in development for roughly a year, so we have had many discussions with stories shared about Kathryn, and details that have never been published. Andrew is a wonderful resource, of course, because of his friendship with her. Sadly, there is not that much information available about her private life.Tanya, I’m such a fan…you perform in clubs around Toronto and southern Ontario singing jazz, torch songs, the classic big band songs…what attracted you to this Broadway themed musical play? Thank you, Glenda. I am theatre trained, having graduated from Sheridan College with a Music Theatre Diploma. I started with musicals, so this is a place where I am very at home and I love it. Andrew approached me with the script and I just knew that it was project I was excited to be a part of.

Zahra Faiz (below) composed the music for the play and is also the musical director…How many songs did you write for the show? And you collaborated with your father on the lyrics, yes? There are 22 original songs in Kathryn. At the beginning of the process, my dad gave me all the lyrics completely written. As I composed the music, I definitely changed some of the lyrics. We worked together to make changes to certain lyrics if they didn’t work with the beats of the songs. In some songs, we cut entire verses if they didn’t make sense with the music. Or, we’d rearrange the ordering of verses so that they’d make more sense with the musical flow of the song. The songs tell so much of the story of Kathryn, and it was a joy to work with my dad on the creation of the project.

I gather you also love comedy; you founded a comedy troupe in Montreal while you were at McGill Uni. – what other comedy endeavours have you enjoyed? Yes, apart from my music, I also did a lot of comedy stuff in university. That really solidified my view that comedy is the vitality of storytelling. Even in darker material, I think that the lightness that comedy brings to a story is incredibly important. In our real lives, we tend to connect with people we can laugh with, and I think the same is true in storytelling. Compelling characters are ones who we can relate to through humour. Creating laughter is important to me. The ability to look at a situation, particularly a bad one, and find humour in it, helps us find reprieve and community.

I’m now working on my own musical for which I’ve composed the song, as well as written the libretto, and it’s a comedy. I hope that when people see it, I can make them laugh. Even in serious work, finding humour is something I’m hopeful I’ll always be able to do.

Kylee Martinez (pictured below) plays a very important dual role as both pianist for the entire play but also portrays daughter Kathleen…whew, sounds exhausting.Is this your first stage musical performance? This is not my first my first stage musical performance! While I grew up playing piano, I found my way to the musical theatre in middle school and was hooked. I went on to attend Toronto’s Randolph College for the Performing Arts to study musical theatre and have been in shows around Toronto since then.

This must be an exciting opportunity for you to play & perform – did you ever imagine such a role when you were a little girl practising your scales? I never could have imagined this! It really is the perfect role for me. When I chose to study theatre instead of music I thought that would be the end of my piano career and it was a decision I really struggled with. Getting to utilize both of my passions in one role has been very exciting. I hope to do much more of this in the future.

And now to director Joanne Latimer who helms this musical play

What first spoke to you about the subject of this musical play? Andrew and Zahra had been working on some of the songs for awhile with Tanya, and I was invited to a “reading” of an early part of the show. I loved the music I heard, and was drawn to this story of a talented woman who was getting all the breaks but kept sabotaging herself. I have known a number of artists- actors, dancers, musicians – with such talent who have been sidelined by addictions, anxiety, or other mental health issues. If it’s not alcohol, or even if it’s not an artist, it’s something that comes between a person and the life they’re aspiring to. Also, the idea of what a career looked like for a woman at that time in history was so intriguing. It felt like a universal story, as well as a glimpse behind the bright lights of a seemingly successful career.You’ve directed Shakespeare and contemporary works – how does this 1-woman musical differ with your directing approach or method? Great question. For one thing, I haven’t done much musical theatre, so it’s been a learning curve in terms of structuring rehearsals, even. It’s been nice to have Zahra to collaborate with there. I have both performed and directed solo work, so I have learned some things about how to deliver a show all alone, rather than as a member of a team. Also, music is a huge part of my life, and whenever I direct, music is a big part of the storytelling. I very carefully select the music that frames scenes or marks transitions. No matter the size of the show, I always focus on the story and the relationships within it. It’s a solo show but there are lots of other characters in it, so we’ve worked through Kathryn’s relationship with all of those people. Structurally, it seems that the internal story comes through the music, kind of like soliloquies in Shakespeare, and Kathryn shares the more external narrative details through the dialogue. It’s been fun finding where the tension between the two occurs. When we found Kylee, our accompanist, who represents Kathryn’s daughter, we were able to focus on that relationship and how that also shapes Kathryn’s arc. In terms of performance, Tanya and I have worked on techniques to sustain the energy throughout the story, and on ways to pull the audience into the more intimate moments. That said, Zahra’s music beautifully supports it all, as it does a lot of the work for us, and we have been taking a lot of cues from the score, when it comes to pacing and where the key moments happen.

What a great team! Kathryn’s story is in the perfect hands…I hope you’ll come out and see/hear this new original musical play.

Dates, times & tickets available from https://kathrynthemusical.com/
Follow on IG or Fcbk: @kathrynthemusical

WOMEN AT PLAY(S) OPENS MARCH 6TH, 2026, WITH A LINE-UP OF EXTRAORDINARY WOMEN WRITERS, DIRECTORS & ACTORS

Am thrilled to be promoting the 8th edition of the Canadian theatre festival – Women at Play(s) which is a series of short one-act plays of original works to create opportunities for women. It’s meant to inspire artistic achievements in theatrical production for people who identify as women of varied ages, abilities, racial and cultural backgrounds, appearances, sexualities, and life experiences for an audience of all. It’s a grass roots group and it is a Canadian Actors’ Equity Association approved festival under the Festival Policy. This year, the Fest is hosted at VideoCabaret, 10 Busy Street (Logan & Queen E) in downtown Toronto…and yes, it’s Wheelchair accessible. Dates, times and ticketing info at end of this story.

I spoke with Festival Founder Marianne Sawchuk (pictured below) earlier this week, who shared her thoughts on the Festival and its history…Marianne, you founded WAP(s) in Vancouver in 2005…what inspired this theatre initiative – especially the concept of presenting multiple short 1-act plays in one 2hr show? I founded Women At Play(s) in 2005 with the goal of addressing the under-representation of women in theatre. I recognized the gap in the professional careers between men and women at the time, a fact clearly enumerated in the 2006 report by the Rebecca Burton for the Equity in Canadian Theatre Women’s Initiative. But I also experienced this personally. My husband and I had just moved to Vancouver from LA and he was constantly getting auditions and work while I waited for the phone to ring for parts like Bimbo #2. I decided to take matters into my own hands to take control over the kind of parts I wanted to play and not be one of only 4 women characters on a film call sheet out of 57 characters or be the only woman in a play written and directed by men. The only way to make a change you want to see in the world is to do something about it – it just takes a bit of work.

The concept of presenting multiple short one-act plays in a single show came from doing Casting Director’s showcases in Los Angeles. These showcases had actors present brief excerpts from plays to Casting Directors so they got to know their work. There were minimal sets and props, it was all about the words and the acting. I thought that was a perfect way to provide opportunities for women to practice their craft by doing what they were trained to do. How were the first festivals received by theatre-goers? Did the Fest attract media attention as well as audiences? Three successful iterations of WaP(s) took place at Vancouver’s Jericho Arts Centre where we broke the house record on closing night of WaPs3. The first Women At Play(s) was performed at Vancouver’s Carousel Theatre’s rehearsal space on Granville Island. This all-women theatre production drew enough audience to be self–sustaining without any grants (we’re still self-sustaining, but still trying to get a grant!). The Festival was well-received by audience members who all said they couldn’t wait for the next one. We even had a large audience show up in a snow storm in Vancouver on a Wednesday evening for WaP(s)2! We were reviewed by all the top theatre critics there and were able to be spotlighted in newspapers and entertainment magazines. WaP(s) would have continued there but my husband, our 1 year old daughter and I moved back to Los Angeles in 2008 for work after WaP(s)3. I tried to do WaP(s) 4 from LA but it proved too difficult.

You and your family moved to Toronto in 2020, bringing the WomenAtPlay(s) concept to Ontario, presenting the first Fest just as Covid shut down the world. The 2023 & 2024 shows were completely sold-out, people wanted entertainment after Covid restrictions lifted, and last year’s Fest was held at the prestigious Alumnae Theatre. Tell us about this year’s new venue. We are moving back to Leslieville where we had our first 3 shows in Toronto at the Red Sandcastle Theatre and selling out our last 2 shows there. We loved the Alumnae Studio Theatre space but the stairs kept some of our audience members away so we had to find an accessible space. VideoCabaret came to my attention and it’s perfect – a fantastic space with loads of Toronto theatre history behind it. VideoCabaret has welcomed us with a subsidized rental rate. Without that support, we would not have been able to make the move back to the beautiful and eclectic neighbourhood of Leslieville.WAP(s) has developed a great “repertoire company” of actors and directors, and has given a platform for women playwrights. Is this a good opportunity for both established and emerging writers? Women At Play(s) is a great opportunity for both established and emerging writers. Established writers are able to have their original short plays fully produced. Emerging playwrights have an opportunity to see their work performed on stage. One extra bonus for emerging playwrights is that since the plays are selected by a jury and produced, they qualify to become a member of the Playwrights Guild of Canada. I love having established playwrights’ work return to our stages. Providing opportunities boosts their visibility and increases their chances of their work being produced on larger stages.

Does WAP(s) present strictly dramatic plays or do you include comedic works as well? Women At Play(s) has a mix of dramatic and comedic plays. I have an anonymous jury that selects the plays every year. All the plays are original; I look forward to see what Canadian women playwrights are writing about year to year. Some years have been lighter than others. It’s interesting to see what bubbles to the surface of women’s stories. This year we have some very dark content but it’s balanced with some light comedies. Women at Play(s) 2026 will take you on a journey from a young woman’s life-changing discovery in New York in 1901 (“Daddy’s Girl” by Emma Donoghue) to tough life decisions for contemporary seniors in Vancouver (“Aging in Place” by Barbara Ellison) to a forest where nature and religion collide (“The Mary Tree” by Brenda Kamino). Seven new plays ponder beginnings (“Waiting for Love” by Lindsay Ellis), celebrate achievements (“And the Oscar goes to…” by Colleen Curran and “The Circle” by Rebecca Singh) and remembers survivors (“A Violation of Violets” by Marni Walsh). Surprises, secrets and lies abound in stories that will make you laugh, cry, dream and think.And you’re directing this year, yes? What play(s) are you helming this year? This will be the first year I will not be acting. I started in the theatre as an actor, then producer, then playwright, and now director. It is wonderful to have seen most aspects of the stage. My favourite roles are directing and acting: I love delving into the characters and the themes of plays, relating the words to bigger aspects of the world around us and sharing that story with the audience. I was humbled to have been requested by playwright, director, producer, and actor Marni Walsh to direct her play. It’s called A Violation of Violets. I was lucky enough to be able to cast veteran actor, Louisa Martin in the role of She. With Marni Walsh’s words and Louisa Martin’s performance, I’m looking forward to presenting the play and seeing how audiences experience it. Because ultimately that is what it is all about, getting together in a communal setting and experiencing these stories together.Venue: VideoCabaret 10 Busy Street, (Logan & Queen E) – Wheelchair accessible
Dates: Mar 6-8, 11-15 at 7pm week nights (Sat. & Sun. 2:30pm + 7pm)
Tickets: Regular: $28 Students, $22 Seniors + art & frontline workers
Available from: www.womenatplays.ca or at the door (CASH ONLY)
Reservations: womenatplaysinfo@yahoo.com

Follow along on socials: www.facebook.com/womenatplays www.instagram.com/women_at_plays and
linktr.ee/womenatplays

I can’t wait to see these plays by extraordinary women writers, actors and directors next month. I hope to see you all there.

MEET STEPHANIE P. BELLEFLEUR – RENOWNED ARTIST & NOW AUTHOR

For several years, I’ve been following artist and entrepreneur STEPHANIE BELLEFLEUR whose work graces the giant exterior walls of office and apartment blocks as well as canvases suitable for homes and businesses. Influenced by her Venezuelan heritage, Stephanie shares stunning paintings of wildlife and mystic imagery and is now creating a “guidebook” for emerging artists to discover their own talents and to embrace art as a way to heal spiritual and emotional challenges. Now in its early stages, the book will include Stephanie’s own path to healing and discovery along with all the pitfalls she overcame along the way, and all the successes and joy she found pursuing her career as a working artist. I asked Stephanie to share her thoughts as the book starts to come together….Stephanie, what an exciting project you’ve just started – a book on how you’ve carved a career in the art world that will also be a guide or “map” for others. What inspired you to launch what will be many months of research and writing? My work in public art has always been rooted in community, mentorship, and using creativity as a bridge. Writing has been part of my life since youth—first through songwriting, then journaling—especially as a brown girl growing up in a small town in southern Saskatchewan. Growing up with ADHD, learning disabilities, and in an immigrant household, language often felt like a barrier. This book emerged as a way to reclaim my voice and offer a blueprint from my own journey—something that might help other artists navigate their paths with confidence. It has also asked me to step into a creative space I once didn’t feel brave enough to claim.Where did you study art and when did the “light bulb turn on” that art was the way forward (or out) for you? My creative journey hasn’t been linear. Music was my first love, but life as a young single mother pushed me to seek stability and purpose. A major turning point came through The Remix Project, where I gained access to mentorship, professional studios, and creative direction during a difficult period of my life. That experience led me back to school and eventually to visual art. While living in Toronto, I followed my intuition to Centennial College, where I completed Art and Design Foundations and Fine Art Studio, alongside mural and aerial-work certifications. In 2016, I registered The Haus of Bellefleur, marking the start of my professional art practice. What first drew you to painting and, in particular, large-scale murals? I had never painted before art school. Large-scale work immediately felt natural—small formats felt restrictive. A visit to Miami’s Wynwood Arts District confirmed what I already felt: I wanted to create accessible, public art that lived in everyday spaces. Because of this, my exhibitions have been intentional and limited. My practice is rooted in murals and community-based work, prioritizing visibility, access, and impact over traditional gallery pathways. Some artists paint because they love it, others paint because they must….what sort of artist are you? I paint because I must. My work is intuitive and responsive, shaped by energy, place, and community need. I see art as a way to restore balance, hold care, and respond to social and emotional realities within shared spaces.As you start the writing process, what do you see as the most daunting aspect to creating the book? Writing still brings vulnerability. But it has also been a lifelong refuge and an essential tool in my practice. This book asks me to be honest and open-hearted. It’s not just about art—it’s about connection, compassion, and finding our way back to ourselves.

SKArt has funded your writing endeavour – how did you discover the Grant? Do they offer any other support for artists? This book is supported by Saskatchewan Arts’ Building Arts Equity: BPOC Program, which supports artists of colour through funding for creation, mentorship, public presentation, and community partnerships. This support made it possible for me to dedicate time and care to this work.

Wow, what an adventure you’re already had to date – this book is going to be such a literary adventure for an artist to share. Bravo, Steph!
Stay tuned for more news on Stephanie Bellefleur the artist and the writer – much more to come.

Visit her website to learn more: thehausofbellefleur.com or follow Steph on Facebook and Instagram.

CANADIAN MUSIC ICON CLAUDJA BARRY JOINS ZOOMER RADIO HOSTS ANDY & JANE

Last Friday morning, Juno and int’l award-winning recording artist CLAUDJA BARRY, joined hosts Andy & Jane to perform on Zoomer Radio’s special Christmas concert. She had a blast chatting with the hosts, talking about her career, latest projects and assuring everyone that things are good down in Jamaica where Claudja spends time with family and friends, esp. during the cold winter months up here in Toronto…brrrr. They’re ready to welcome Canadian tourists back to their resorts, beaches and attractions.Performing one of her biggest hits “Boogie Woogie Dancing Shoes”, Claudja got the studio audience up on their feet, dancin’ up a storm, cheering and singing along…Prior to her set, Claudja got to schmooze with Zoomie the Elf (Kelly) as well as a quick hello to fellow performer and Canadian music legend, Andy Kim. Big THANK YOU to Andy & Jane for the invitation to Claudja – she loved performing live and reaching out via radio to a whole new audience, introducing her music to a new generation who are now discovering & embracing the joys of disco. Watch for film snippets of the show on YouTube and Zoomer Radio socials. Merry Christmas, Happy Hannukah and Happy New Year to all her fans, music lovers and Zoomer radio folks from one of Canada’s legacy artists, CLAUDJA BARRY.

MEET INDIE FILMMAKER BÉLA PFUNDT WHOSE FILM “DRIVING ME NUTS!” IS REACHING WORLDWIDE COMEDY AUDIENCES VIA STREAMING SERVICES

Several weeks ago, I met with Canadian independent filmmaker BÉLA PFUNDT who enquired about promoting his comic book-style feature film “Driving Me Nuts!, a look at the life of a veteran driving instructor whose adult driving students are a deranged bunch of weirdos that would make even Fellini shudder! With an extensive career background in television production, art direction & design, Béla has forged his “second act” with writing, directing & producing live action/animation projects in which he lets his imagination run free. I asked him to share his thoughts and inspirations for working in such a crowded creative arena and how he aspires to rise above the clutter to bring laughter and, in many cases, recognition factors into his films.Did you always want to be a story-teller and creator or did you study for a more traditional career? Yes, absolutely. Since high school, storytelling has felt like an added appendage—something that’s always been a part of me. Over time, it naturally evolved and found expression in whatever creative medium I gravitated toward. Looking back at the diverse studies I pursued in Art College, I’ve come to appreciate that being an artist—especially a multimedia artist—comes with a unique sensitivity to storytelling. I’ve always enjoyed diving into any medium that sparked my curiosity: inventing board games, producing experimental films, composing music, developing characters through acting, designing TV show openings, package design—whatever intrigued me at the time. I genuinely believe that my four years in Art College were simply the beginning, the equivalent of an infant learning to crawl before taking their first steps. It’s in the years that follow when your interests begin to solidify. That’s when tenacity and inspiration step in and push you to keep studying, expanding your horizons in all areas of creativity. That’s when real growth happens. Even now, at 72, I’m still learning every single day.

After working in television as a graphic designer & animator, what propelled you in the direction of filmmaking and writing? In retrospect, film animation in college was my earliest spark. Animation is, at its core, a form of acting—it’s all about timing, rhythm, and expression. During my 25+ years at CBC, every production that I worked on inspired me to explore every aspect of production. For example, when I began working as an extra in a few CBC drama productions, it pushed my interests further into filmmaking, acting, character development, voice work, or television production, per se. Boredom grew rapidly during my last 10-15 years at CBC, so to keep my sanity afloat, I immersed myself in comedy improv classes which transitioned into comedy script writing. From there, developing and pitching a radio comedy show as well as in television. All of these stages became part and parcel of my evolution into filmmaking.

Your first production was a mockumentary called Visitors ….what inspired that and how many different hats did you wear when producing the film? It was sold to CityTV-Space Channel. Although the film was a first in parodying the UFO-Alien genre, unfortunately, I regret not marketing the film properly. It all started when a friend of mine decided to shoot all of my characters, in costume. That’s when I decided to write the mockumentary for Visitors, as well as all of the other essentials in production. Like all of my films to this day, my early work was very much a one-man-show production. Animation and those early Super 8 experimental films became the driving force that pushed me deeper into storytelling and the craft of filmmaking.
It’s become an innate part of me or natural protocol for me to wear all of the hats associated with production—writing, characters, improv, voice narrations, graphics, music, directing, designing promotional and merchandise of the film, etc. ‘Clem Junebug–Ghost Detective’, my second feature, garnered a number of comedy awards in Canada and the U.S. in indie comedy festivals. Thereafter, the drive to create grew.

As you developed your own film production company, did you also hold down a fulltime job or had you already “retired” from the 9-5 life? I began Visitors in the late ’90s I was still working at CBC. It was very much a “burning the candle at both ends” experience. At the time, I was also working as a cartoon illustrator, so juggling freelance work alongside my CBC duties felt natural—and that ability to multitask made the production possible. But most importantly, when you hear your passion calling from within—you answer it. I believe that when you intuitively discover a passion that feels undeniably like a part of you, you simply can’t stop. It becomes a natural creative force speaking through you—a direct link to your inner soul. I often refer to this process as ‘itchy brains’

Driving Me Nuts! is your debut feature length animation/live action film. Did you have a theatrical release or did you put it straight up on streaming platforms to reach a worldwide audience? I’m afraid there was no theatrical release. One needs a distributor for to secure that and sadly I could not find a distributor. The only theatre where my film was shown was the film’s premiere at a small town cinema. I’m still a small guy in the indie film festival league. I’m not playing in the ‘Pro League’…yet. I’m the guy who stands on a corner, playing a variety of musical instruments strapped to my body LOL. So without any hesitation, and like many filmmakers today, I aimed for streaming. I think it’s a wise choice and one can get the word out to the masses quicker by a variety of methods, it’s easier and it’s a different process. Late last year, I was fortunate to get my film on four platforms (Apple, Prime, YouTube and Google). Thereafter, marketing is also another challenging stage.

Driving Me Nuts! is a unique take on the stressful life of a driving instructor and the many bizarre and somewhat deranged adult student drivers – what inspired this story? The more I think about it, the more I realize how many influences came together to inspire the premise of this wacky, offbeat comedy. It really began on the road—I lost count of the number of terrible drivers I encountered, and how many close calls I somehow avoided. That’s when I started keeping my iPhone ready at all times to record any idea the moment it surfaced. My imagination began to snowball, nonstop. It was like an Oppenheimer comedy bomb going off in my head. With all these meandering ideas swirling around, everything eventually anchored itself to one central concept: the driving instructor and the student drivers. But then I thought… what if the students were adults and completely off the wall? That’s when I let my brain off the leash and allowed it to run wild. Most of the characters in the film are based on real people. For example, the superstitious cleaning lady (played by me), who performs rituals with her BBQ chicken before each driving lesson – she was inspired by my mother as well as a Portuguese cleaning lady I once employed. Some of her quirky narratives actually came straight from her own supernatural experiences. You’re currently promoting streaming access for Driving Me Nuts! so do you have a new feature film percolating in your mind? Any hints as to what it might be about? Yes, I have a virtual crowded stove top with too many pots boiling away. As always, my brain is running loose and it never comes back when I call it. I’ve just finished writing a mockumentary film. The working title is Africa’s Forgotten Hunter. Without giving too much away, it follows an unknown, wealthy British Colonial hunter in Africa in the last mid-century who, by sheer luck, discovers a hidden valley in Africa containing unknown, never-before-seen creatures – an area depicted on ancient cave walls, one that no native dares to enter. The film will be crafted in the style of a ’50s documentary, blended with dramatizations and Pathé-style newsreels. I’ll be producing most of the graphics, animations and effects myself, and AI will help create additional footage as well as assist in developing characters to match my various voice performances. I’m also juggling several other projects: pitching a celebrity sports game show, developing my mockumentary Visitors into a mini-mockumentary TV series, developing another mini-mockumentary series based on my book Untold Mysteries From the Vaults; and long percolating project, something that’s completely new for me to attempt….writing a stage musical.

Thanks, Béla. Driving Me Nuts! is available now on AppleTV, Prime, YouTube and GoogleTV and is 2hrs & 7 mins of crazy wacky hilarity that will make you think twice about driving behind learner drivers in the future. Follow along via social media (Fcbk & IG) and watch Fordham PR’s socials, too, for news and updates on the film and the filmmaker.

More info and links on Béla’s website: https://www.innerlightconcepts.com/drivingmenuts

JOHANNES LINSTEAD TAKES AUDIENCE FROM SPAIN TO CUBA LAST NIGHT AT HUGH’S ROOM, TORONTO

What a night…great music, great audience, wonderful venue with fantastic sound system! World renowned guitarist/composer JOHANNES LINSTEAD introduced Toronto audiences to his latest album, From Spain to Cuba, full of Latin beats, sexy melodies and warm vibes.

The audience was fully engaged, clapping along and swaying in their seats. The venue, Hugh’s Room on Broadview in downtown Toronto, was perfect, with a lush sound throughout the converted church hall, run by a brilliant sound tech – Ann, I think her name is. There were lots of fellow musicians in the audience, including some who played on the new album, including Ron Korb, the Grammy winning flautist and composer pictured below (L) along with Johannes and the lovely folks from Wave.FMAfter taking bows, Johannes made his way to the front of house where the merch table was set up to sign albums and pose for photos with his fans. And Ron stepped up to pose with a few musicians/fans, too, and made sure Johannes signed a CD for him, too. Big THANK YOU to Laura Fernandez and the team at Hugh’s Room for making it such a fun night – bravo, Team Hugh’s! Check out their upcoming gigs and make sure you visit soon….. https://hughsroomlive.com/

Congrats, Johannes, on your wonderful concert, and for all your new music which will be available next week on your favourite streaming platforms. Follow Johannes on social media and visit his website for more updates and information: https://johanneslinstead.com/

World-renowned guitarist/composer JOHANNES LINSTEAD to release new album “FROM SPAIN TO CUBA” with 2 concerts over next 4 weeks

For many years, I’ve followed guitarist Johannes Linstead‘s career; his albums filled with Latin and classical original tunes have topped worldwide charts and I’ve even recognized his music in TV shows. This charming and humble artist has built a huge following and to date, has enjoyed over 500 million (yes, MILLION) streams online. He’s been named Canada’s “Guitarist of the Year” and in the UK, been annointed as “People’s Choice” in annual music awards. He regularly collaborates with musicians from Cuba, Greece, Palestine, France, Canada, Australia, Iran and the Dominican Republic, and as he launches his latest album (both in CD and streaming format) with 2 southern Ontario concerts, Johannes will perform with some of his favourite local musicians. Concert dates and venues are at the end of the blog.

I reached out to Johannes for an interview and he was gracious to tease us with some details about this new album, From Spain to Cuba.

Congratulations on your new album, Johannes, what was your inspiration for this particular musical journey? Like most of my Spanish and Latin guitar music, my compositions are inspired by my travels, usually to countries with warmer climates. Countries like Spain and Cuba have such a rich musical history – Spain is especially notable for the guitar and Cuba for its rhythms. I love to combine those elements into my music.Who did you bring into the studio to record with you? Or did you record remotely with these artists? Actually, most of it was recorded remotely. The album features musicians from Dominican Republic, Colombia, Argentina and even Morocco.

I assume you’ve performed in Spain and Cuba? Did you perform with local recording stars there and if so, who? Yes, I have performed in Spain and Cuba, but nothing too formal; just jamming and improvising with locals. Both countries are filled with amazing musicians.I’ve listened to the album and it’s so lush and sensual and juicy…fans will not be disappointed. Lots of dancin’ and romancin’ music. Will you have CDs available for purchase at your concerts in Burlington and Toronto over the next few weeks? Perfect Christmas gifts for music lovers. Yes! These upcoming shows will be the first opportunities to purchase a copy of the CD. The album will be released to the general public November 15^th and also available for streaming.Six years ago, your song Tropical Christmas hit the US charts where it became a big hit on US radio, charting at #1 for two weeks as the “Most Added” song on the Top 40 New Music Weekly chart, and #1 “Most Increased” song, putting you ahead of artists like Taylor Swift and Justin Bieber. So you’re now a millionaire, right? How difficult is it to make a good living even with incredible stats as these? I’ve been very lucky. I’ve had a long and steady career. Streaming and concerts have been a good source of income, but another source has been licensing. My music has been used in many TV series, video games and movies. My music was even used in Despicable Me 4. (As we’re closing in on the festive season, here’s Johannes sitting under a palm tree playing Tropical Christmas for us….)

A number of your tracks have been played in tv shows and films (proving there is such a thing as “6 degrees of Kevin Bacon” for The Following). Your music has even been used by Olympic figure skaters for their routines – how do you attract attention to secure “film placement”? I usually get approached. I think music placement supervisors know my music and when they have the need for a certain sound they contact me.

Will you be doing any touring with the From Spain to Cuba album over the coming months? Or booking any festivals throughout 2026? Yes, we’re planning shows for next year. We usually perform at performing arts centres and festivals.

And the best way to follow you? What are your social media handles? Signing up for my newsletter via my website is one way, but I’m on all the usual sites.
https://johanneslinstead.com
https://facebook.com/johanneslinsteadmusic
https://instagram.com/johanneslinstead
https://www.tiktok.com/@johanneslinstead
https://x.com/johannesnews

Congratulations, Johannes, on this extraordinary new album…and welcome to Fordham PR – I’m excited to promote your shows and album.

Here are the dates for the album launch:
Sun. Oct. 26 2:30pm @ West Plains United Church, 549 Plains Rd W in Burlington

Wed. Nov 5 7:30pm @ Hugh’s Room, 296 Broadview Ave in Toronto

Tickets avail. here: https://johanneslinstead.com/shows

WRITER/DIRECTOR DAN BLAKEMAN TALKS ABOUT HIS DEBUT FEATURE FILM WITH A MURDEROUS GHOSTLY THEME

After years of writing and producing live theatrical plays, writer/director DAN BLAKEMAN has ventured into the film world, completing his first feature that has a decidedly ghostly theme – GHOST LIGHT. Maybe his theatre background inspired this story – a “ghost light” is the single bulb left burning brightly on stage when the audience and cast have left the building….it gives the ghosts of previous actors plenty of illumination in case they want to tread the paranormal boards again.

But the ghosts in this film’s theatre are not just spooky…they’re deadly! And the young actors breaking back into the place after dark to party will be met with some scary challenges that they may not all survive. Oooo….aaaaah. Saucy Minx recently spoke with Dan (pictured below) asking about the inspiration, the casting and the filming experience….Congratulations on completion of your first feature film, Ghost Light. You not only directed the film, you also wrote the script – what was your inspiration? It’s based on a play I wrote that was produced a few times in Los Angeles, which was just a goofy attempt at an environmental horror play about college kids breaking into a haunted theatre. It wound up getting interest from the film industry multiple times, which resulted in over half a dozen different screenplay drafts of the material over several years, but unfortunately never made it to production. When my partner Drew and I decided we wanted to make a feature film, it was the obvious choice.

In your director’s statement in the media kit, you say that Ghost Light is like “the fever dream of a 14-year-old who binged on the local video store’s entire horror section one weekend.” What were you favourite horror films growing up and were your parents worried about you with such scary influences? I kinda am that kid! Before Blockbuster completely took over VHS rentals, there were lots of little video rental places everywhere that had all kinds of bizarre and offbeat horror films, I’d often rent 3 a day to watch with friends or alone. I have too many faves to get into, especially since they switch up all the time, but fans like me should see all kinds of references and homages in Ghost Light.
My mom always loved a good ghost story, and used to watch the old Universal Horror classics with me when I was 5, so I don’t think that particular fixation gave her much concern. Though she wasn’t too keen on how much I loved Rocky Horror as a teen, LOL!

I always like asking filmmakers what was most difficult about the whole process? The writing process, the location hunt, casting, editing…or the post-production admin stuff? All those aspects had their challenges. Post-production was a lot slower than we wanted or anticipated due to a bunch of different issues, so that was probably the most frustrating overall.

I previously had the pleasure of working with you and your producer partner, Drew, when you presented a number of theatre productions in Toronto, again with somewhat strange themes and bizarre story lines. Did you find the shift from live theatre to film a challenge? And how is it different from a creative perspective? Even though the bulk of my experience is in live theatre, I have a BFA in Film & TV. I interned with a production company which included several commercial gigs, and we produced an award-winning short film of my one-act play Bugbaby (featuring cult movie icon Mink Stole – pictured below) some years ago. So while it’s definitely a different experience in how everything is put together, I think I’m well versed enough with both mediums to slip between them without a lot of difficulty. It’s just switching gears.Casting your film must have been interesting…your actors are young, good looking and talented, some even have several years of film experience. Did you cast within the horror genre community or did you do an open casting session? Whether theatre or film, I always open casting as widely as I can. Since we were on a limited pre-production schedule due to the availability of our location, we cast as quickly as we could. Alec, Mason and Sarah were cast from our first round, but finding our “final girl” who fit with them was challenging. That search took us up to the line – Ariel Myren, who got the part, auditioned on a Wednesday and started shooting that Friday. And you brought in a much-loved horror movie queen, Linnea Quigley, as a “guest star” – how did you meet her and secure her for a special role? Honestly, we just called her agent. None of us had a connection, I just gave our casting folks a list of four names and said any would be great. We actually secured another name first because someone knew that person, but she fell through due to scheduling. Which actually turned out for the better, because our next inquiry was to Linnea who was interested – and in hindsight a better fit for this particular project. She and her manager Judy are both just wonderful to work with. Not only is Linnea (pictured below) a legendary scream queen, she’s an absolute sweetheart, a trouper and a total pro.And renowned Harry Manfredini as your music director? He’s scored over 100 films in the horror genre incl. Friday the 13^th – how did you meet him and sign him for your film? That one WAS a connection from a guy we’ve been working with on seeking distribution. But hearing that Harry (pictured below) actually *wanted* to score it after watching it was quite thrilling for me! Working with him was a great experience as well – he’s as accommodating and fast as he is talented, and I hope we can sign him for something with a larger budget in the future.Do you intend to continue writing & directing feature films or might you return to live theatre…or do both? Right now, I’m concentrating on film for the time being. I love theatre and would love to return to it – but creating it at a pro or semi-pro level these days in LA is expensive, and audiences for smaller, edgier theatre are lacking. Film currently feels like a lot more practical way to get my stuff in front of more fans of the kind of weirdness I like – unlike theatre, you’re not necessarily limited by location or time to watch a film.Thanks, Dan, Saucy Minx was thrilled to talk with you and share news of your new film with all the horror/paranormal genre fans out there. And fans can follow the movie and watch for screening news via the Ghost Light Facebook page. Here are a few behind-the-scenes pics of the cast and the amazing special F/X make-up used…

Director Dan Blakeman (L), star Linnea Quigley (C) and producer Drew Blakeman (R)

INNOVATIVE & EXCITING A.I. THEMED PLAY BY TORONTO-BASED THEATRE CO. HITS THE FRINGE CIRCUIT

I was thrilled to meet actors/creators Yana Menov and Yuriy Popov of Toronto’s indie theatre group Studio Reflection Theater and was even more excited when they asked me to help promote their current Fringe Festival performances of The Turing Test in Kingston and (next week) London, Ontario. Summer is not the ideal time to present stage festivals – let’s face it, everyone is either up at the cottage or enjoying family BBQs in the back garden and is definitely a challenge to get bums in seats. But these two talented actors have been working hard promoting their shows in person: handing out flyers, putting up posters and burning up social media with photos, videos and promos. Whew, it’s hard out there for an actor!

The Turing Test is a sharp, emotionally resonant, and genre-blending theatrical piece that invites audiences to reflect on what it truly means to be human through a sharp, witty and visually rich exploration of relationships, technology, and identity.

Yana and Yuriy successfully wrapped up their shows at Windsor Fringe Fest about 10 days ago, and are currently mid-run at The Grand Theatre at this year’s Kingston Fringe. Then next week, they’ll be hitting the stage at the Palace Theatre in London. In between performances, I got a chance to ask Yana and Yuriy a few questions about The Turing Test, a look at how Artificial Intelligence could impact our personal lives and how human emotions can impact the inter-species(?) relationship.

Yuriy and Yana, congratulations on mounting the play The Turing Test at the various Fringe Festivals across Ontario. What first inspired you to present the play and who wrote it?
Yuriy (Y): Thank you! I first read The Turing Test and thought, “This is either a comedy, a tragedy… or both — which means it’s perfect.” It’s by Russian playwright Igor Yakimov, and it’s got that rare mix of wit, philosophy, and emotional gut punches. I was hooked because it’s about so much more than AI — it’s about human connection, which, ironically, is the thing we humans most often struggle with.
Yana (Ya): When Yuriy showed me the script, I was laughing one moment and tearing up the next. The dialogue felt alive, like it was speaking directly to me. And under the humor, there was this tenderness and truth about loneliness, love, and the strange ways we find each other. I couldn’t resist it.You’ve performed The Turing Test in Russian and now have translated the play into English for Canadian audiences with subtitles shown on the screen behind the action on stage. How do you enjoy performing in English…do you ever slip in Russian?
Yuriy (Y): Performing in English is like wearing a suit tailored by a very talented but slightly unpredictable tailor — it fits, but sometimes you discover an extra pocket you didn’t expect. We rehearsed so much that the language stopped being a barrier and became part of the character’s voice. Yes, on rare occasions a Russian word will try to sneak in — they’re stubborn like that. And I’m sure there’s still a Russian accent, but audiences tell us it disappears from their mind after the first ten minutes.
Yana (Ya): The rehearsals made the English feel completely natural – at this point it’s not about “translating” anymore, it’s about living inside the lines. The text is so layered that once you’re in the emotion, the English flows without thinking. We might still have a hint of an accent, but once the audience is drawn in, it’s just part of the rhythm of the play.With so many people concerned about the use of Artificial Intelligence in everyday life, how does the play’s subject affect audiences? Have you received comments from people about their fears of AI?
Yuriy (Y): We’ve had people come up after the show and say, “This is exactly why I don’t trust my smart toaster.” But seriously — the AI element gets people thinking, not so much about robots taking over, but about what makes us… us. Are we really so different from the algorithms we create? Think of it as dessert for your brain — sweet, a little strange, and maybe a bit dangerous.
Yana (Ya): Some arrive expecting a “tech” story, but what stays with them is the emotional side — how easy it is to open your heart to something (or someone) you don’t fully understand. It makes them think about their own relationships. AI just happens to be the mirror we’re holding up.

Where did you both train for acting? Did you meet in acting school or on the stage?
Yuriy (Y): We’ve both been fortunate to train with highly skilled professionals in the drama world – people who really pushed us to grow and challenged us to think differently about performance. We actually met while working on another production, which is the actor’s equivalent of meeting in a foxhole: you learn a lot about someone when you’re both trying to remember your lines and not fall off the set.
Yana (Ya): Yes, our first meeting was in a production where we barely had time to say “hi” before being thrown into intense rehearsals. It felt like being tossed into the deep end — only the water was pure emotion, and you just had to learn to swim together. After the current run at the Kingston Fringe Festival, you head off to London, Ontario, next week to their Festival. Any expectations of a new audience? Is the London Fringe already promoting ticket sales?
Yuriy (Y): In Kingston, the best “marketing advice” I got from a professional artistic producer was: “If you want more people at your show, go to a pub, have a beer, talk to people, and cry that you came for the Fringe but nobody showed up. People here have big hearts — they’ll feel sorry for you, and the whole pub will follow you to your venue. Just make sure you negotiate with the management so they can bring their beer along.”
For London, we’re hoping we won’t need to consume quite that much alcohol to fill the seats. We trust people will see the audience feedback on our Instagram and be curious enough to check it out. And yes – tickets for London are already on sale. But if all else fails… we know which pub to start with.
Yana (Ya): Kingston showed us how open-hearted Fringe audiences are — sometimes all it takes is an honest conversation to make a real connection. For London, I hope curiosity will come from the buzz, from friends telling friends, and from those little glimpses we’ve been sharing online. There’s something magical about walking into a theatre expecting an unusual story.

You have a special one-night-only performance of The Turing Test in Toronto happening in September. I gather it will be staged in an intimate studio space north of the downtown – do you anticipate a longer run closer to downtown Toronto sometime during the winter months?
Yuriy (Y): That’s the plan. The September show is a “stress test” for the play – small space, close audience, nowhere to hide. If it goes as I expect, a downtown winter run will be the logical next step.
Yana (Ya): I love intimate spaces because you can feel the audience breathing with you. It’s electric. And yes, I’d love to bring it downtown — the more chances to share it, the better.

Any other projects in the works?
Yuriy (Y): Plenty. After seeing other Fringe shows, we’ve been buzzing with ideas. You see another actor do something brilliant and think, “Yep, I’m stealing that… respectfully.” Between that and our own original concepts, our plate is full. Plus, we’re part of other theatres’ productions, so sometimes we’re not just cooking the meal – we’re also the surprise ingredient.
Yana (Ya): And in the middle of all that, we’re rehearsing two completely different children’s plays – one a traditional piece, the other a fully interactive show where the audience becomes part of the story. It’s like switching between a classic novel and a choose-your-own-adventure book. Keeps us on our toes… and slightly sleep-deprived.

How can people follow you – do you have a website or social media?
Yuriy (Y): We’re easy to find — search studio.reflection.theater on Instagram or Facebook. You’ll see our adventures, behind-the-scenes moments, and the occasional teaser that makes you go, “Wait… what on earth are they doing on stage?”
Yana (Ya): Social media is the best way to follow us — see show clips, join the conversation, and occasionally catch a late-night philosophical musing about theatre. We promise, it’s more entertaining than your average bedtime scroll.

Thanks Y & Y – so if you live in the Kingston, ON area, you only have a couple more performances, but if you’re a Londoner, you can catch several performances at The Palace Theatre – see details below. Tkts avail. here: https://palacetheatre.ca/london-fringe/

Nash the Slash Rises Again! after years of hard work, sweat & a few tears, the film is set to screen soon

I recently spoke with Colin Brunton, co-writer (along with director/producer Tim Kowalski and editor Kevan Byrne) of the upcoming docu-film on the life and career of one of Toronto’s most mysterious music legends from the 80s, Nash The Slash. I remember hanging out backstage with Nash after a big concert at the Phoenix Nightclub in downtown Toronto, and was invited into his dressing room (no, I was not a groupie…LOL) to help him get out of costume which included his famous “invisible man” bandages.Nash was a very secretive artist, so talented and intriguing. But we lost him way too soon, and I remember the sadness that permeated the town, much like the other Canadian icon of alt.music we lost early in his career, Handsome Ned. Anyway, Colin gave me an exciting update on the film’s completion and their plans for screenings in the coming months.

Congratulations on completion of your film…what challenges, apart from financing, did you and the team have to overcome to get to this end point? Finding the time. On a regular project, you have dozens of people working full-time, but there were only four of us, so in between day-jobs, families, and everything that comes with that, we’d pick away at the film. Also, ensuring that we had rights to use photos and old TV clips was a huge job. Nash’s story goes back fifty years; companies don’t necessarily keep everything, so there was always a lot of detective work on our part.

Were you able to source any previously unseen images or recordings from the fans or other music industry professionals? We do have a few gems very few people have seen, and we’ve created better versions of a lot of stuff you might find on the ‘net.Now, it’s on to film festival submissions – which fests are you targeting? And are you submitting to festivals outside of Canada? We’re applying to some festivals, but I’d hate to jinx it by saying which ones.

Are you hoping for a theatrical release after festival screenings or are you looking at streaming services or documentary tv channels for maximum viewer impact? We’re under no illusions that this will have a typical theatrical run, so we’re working on some off-the-radar venues. It may be more like a tour of one-nighters rather than parking it in a multiplex for a couple of weeks. With a one-nighter, we can have better control of the presentation, and make sure they play it loud. Nash liked it loud. As for TV? CBC, for one, have made it clear that they have absolutely no interest in Nash’s story. (pictured below, Director Tim Kowalski & sound-mixer Daniel Pellerin)What would you like to tell fans of Nash and those of us who lived and loved the incredible 80s music scene in Toronto? For those who lived it, it’ll be a reminder of when Toronto was a lot more interesting. We had a screening couple of years ago for some twenty-something film students and they were fascinated by the whole story, especially the ‘80’s footage.Colin, is there anyone you would really like to acknowledge and thank for making it all come together? I saw a woman wearing a t-shirt that said “Yes, I’m still working on my f*$ing documentary,” so really, first and foremost we have to thank the fans for all their patience watching this evolve over the past seven years. 400+ fans supported us in our crowd-funding efforts, as well as being very generous with photos and footage. Music supervisor Natasha Duprey; photographer Paul Till; Trevor Norris and the Nash estate; Gary Topp for his encouragement and advice; Lawyer David Steinberg for keeping us on the straight and narrow. I could go on, but I know I’m still going to miss some people. (pictured below, Colin Brunton)

How can we follow this story of Toronto’s legendary artist who we lost way too soon? We’re on https://www.facebook.com/NashTheSlashDoc/ as well as IG and Bluesky