Engage. Educate. Entertain

The Grove Guild was born from a desire to form a community where theatre patrons and like-minded persons can come together to educate themselves about live theatre in a social, club-like atmosphere. The Grove Guild strives to engage, educate and entertain its members 12 months of the year, while connecting with The Grove Theatre during its off-season.

The goal of The Grove Guild is to raise understanding of the theatre production process from the ground up. Live theatre becomes more exciting and fulfilling when one has astrong relationship with this dynamic art form. Live theatre is to be enjoyed in the moment; The Guild is built on the belief that with deep insight of behind-the-scenes and on-stage dynamics, the experience for the theatre patron becomes richer and each performance more fulfilling. Personal enrichment and theatre appreciation are the result.

Membership: Affordable membership is open to any member of our community who would like to gather on the last Tuesday of each month, in a conversation-style forum. Grove Guild Events support our collective learning. The four Membership Tiers are outlined below.

Purpose: To provide Grove Guild members opportunities to connect, socialize, share, and learn through monthly get-togethers with a variety of qualified guests from the theatre industry.

Structure: We gather at 4:15pm on the last Tuesday of each month to mingle with new friends, enjoy refreshments and nibbles. At 4:30pm we begin our interview-style “Conversation” with a professional guest from the theatre industry. Gatherings are casual and relaxed. Members are welcome to linger after an approximately 1-hour talk for more socialtime.

Volunteers: Your input, feedback and time are welcome!

Contact us: guild@grovetheatre.ca

Meeting Location: The Fenelon Falls United Church, 123 Colborne Street, Fenelon Falls

Become a Grove Guild Member

February 2026 - Peter Aylin

A Conversation with Peter Aylin, Music Director

On February 24 we had the pleasure of getting to know Peter Aylin, 2026 Music Director for The Grove Theatre. He shared his career in the theatre world as a conductor and music director, and everything he’ll be bringing to the Grove Theatre’s 2026 season. Peter shared many entertaining and engaging stories with us.

Peter grew up in the UK with evident musical talent from an early age. His journey began with a brief stint on the violin (by his own admission he was an awful violinist), before moving to the piano at age 7. His piano teacher allowed him the freedom to play the music he wanted, including Chopin and modern pieces; this broad spectrum nurtured his obvious gift. It was at the traditional all boys grammar school he attended, under the wing of an encouraging young music teacher, that set the stage for Peters’s professional career. Involved in two shows a year, a Gilbert and Sullivan show at Christmas, and a pantomime musical “steeped in tradition” in the spring, Peter handled the musical arrangements and served as band leader, developing an understanding of music direction. He admitted, with a laugh, that he was motivated by the teacher’s secret weapon, Mars Bars, which Peter received regularly for his hard work. 

Impressively, Peter began conducting in youth theatre at age 19. At 25, he came under the mentorship of Paul Jury, a music director from the UK and the originating music director for Menopause the Musical, recognized as the first show of ‘jukebox culture’. Peter worked alongside Paul in auditions and rehearsals, gaining valuable experience.

When asked about career highlights, Peter recalled the “rush” he felt during the UK revival tour of Hello Dolly!, where heled a 28-piece orchestra with 40 actors and singers on stage. Conducting the Canadian National Tour of Tommy the Musical was a highly memorable thrill with its smaller 10-piece orchestra and epic score. Peter moved to Canada shortly thereafter. 

Peter began running Menopause the Musical in Canada two years into its tour. He was asked if he would try remixing the original arrangements, which Peter said, “scared the bejebbers out of him” as it’s typically a thankless task. But what he came up with was a very different show, a fresh reinterpreted version, based on how he wanted it to sound, his own artistic vision. In the end it was a very eye opening and exhilarating experience for him. 

Peter has also been deeply involved in educational theatre programs, including Show Choir Canada and Diversified Theatre, which introduced students to performance, music and choreography. Peter also highlighted bringing the wildly popular British tradition of pantomime productions to Canada for children, giving students opportunities to perform and engage with professional productions.  

In summary, Peter’s career spans many roles: on stage, in the pit, and behind the scenes. Beyond musical theatre, he has worked in orchestral, ballet and opera productions – and yes, he told us the story behind performing for Princess Diana. Peter has collaborated with international productions in the UK, Canada and Australia with the majority of his professional career rooted here in Canada. 

Which brings us to how Peter came to Bobcaygeon and The Grove Theatre in 2025. In a nutshell: the stars aligned. He has always preferred country living, and he found a perfect house in Bocaygeon. Last summer, he took part in The Grove Drama Camp for the full 5-weeks and worked as production assistant for the theatre. There was laughter from The Guild audience when Peter said it was his “probationary period.” 

As Music Director for The Grove Theatre 2026 season, Peter will guide the two tribute shows (Canadian Legends: Volume 2 and 70’s Dance Party), Spamalot, and The Holy Grail from early music instruction through choreography integration, while gradually combining all the elements together for polished performances. He emphasized that collaboration is key – working with the performers, the choreographer, the technical director, and the artistic directors to ensure every show feels cohesive and alive.  

Peter has already received the set list for the tributes from Jennifer Harding. His process entails listening to music and giving his feedback as to what is achievable. When rehearsals begin, he has the arrangements ready, teaches the vocals to the cast, with a focus on vocal technique. Rehearsals are intensive, typically running from 10am-6pm, with additional hours for refinement on his end. As he put it, “there’s more to fix in his head.” 

From there, vocals transition into choreography which, Peter noted with a laugh, is historically when things fall apart. There’s a big difference between idle singing, and singing with movement. Getting it right is a process! Next they transition to the stage where acting is layered in and the show comes together. Peter emphasized the importance of pacing, listening, and balancing vocals with instrumental sound. Tech rehearsals follow, with the full company working through lighting and sound. And then – opening night! Peter will be at the back of the audience listening (and pacing), waiting to find out whether the audience loves the show, or not, which erupted into more laughter from The Guild audience.  

Peter then recalled a memorable story from The Buddy Holly Story, at The Paramount Theatre in the UK. The show’s energy was so intense during the final rehearsal that the set had to be rebuilt before opening night. We could only imagine the work the technical director had in front of him. Even the balconies had to be reinforced! 

When asked about challenges he sees for the upcoming season, Peter pointed to the practical realities of a summer season: budget and time. This made a lot of sense when Peter explained that the development process for a show can take 1-2, even 3-4 years. The Grove Theatre, by contrast, produces 4 shows in a remarkably short period of time. 

We also learned that Peter saw every single performance of Buddy: The Buddy Holly Story at The Grove Theatre last year!  When asked for his takeaway, Peter replied without hesitation: “A1. It’s phenomenal!” The Guild audience responded with enthusiastic applause. 

When we asked Peter what excites him most about the upcoming season, he replied: “working with the people.” The Grove, he said, is full of “rock-solid people.” He gave a special shoutout to Technical Director, Luke Hockett (October 2025 Guild Guest), calling him “fantastic” and adding that The Grove is very lucky to have him. He added that the productions we’ll be seeing this summer are, again, “phenomenal.” We could feel his excitement.

This sparked a return to our question about career highlights and a fond memory from last season. The last time Peter saw Buddy:The Buddy Holly Show was in the UK, working for Paul Jury as a production assistant. Last season at The Grove Theatre, he watched it from behind the curtain for the first time since then. Seeing Al Braatz and the other performers “rocking away” he said was an “awesome experience.” He felt elated standing behind such amazing talent with lights and sound in the heart of the action! 

 To appreciate more about Peter’s role we asked him to comment on the hardest part of his job. He was quick to respond. He replied: “the hardest job is getting the right sound.” Matching the right talent with the right sound is essential, and sometimes that means making difficult calls. He has to convey what’s in his head. “You can blame me for what comes out of the singer’s mouth,” he said. He emphasized what matters most is what the audience ultimately hears. He pointed out that “ the sound person has the hardest of jobs. This person has huge technical challenges.” This helped us appreciate Luke’s position even more. 

The conversation returned to the tributes. Peter built on Jennifer Harding’s input in January to give us a behind the scenes peek into the makings of 70s Dance Party. Building the show involves a lot of trial and error, picking and choosing, and thrashing things out. The music is crafted to build musical “medleys,” shaping medleys so they build, then dip a little, and then end with a big finale. Some numbers will be performed in their entirety; others will be mixed and matched, blended and layered. We can expect lots of energy and nostalgia.

Peter is genuinely excited about Canadian Music Legends - Volume Two. Having spent more of his life in Canada than in the UK, he said there’s so much Canadian music culture to celebrate. He mentioned Joni Mitchell, Leonard Cohen, Bryan Adams, Paul Simon, Celine Dion, and Shania Twain to name a few. Everyone agreed that there could easily be a Canadian Legends Volume Three!

Peter’s musical appreciation is broad, stretching from everything between orchestral, ballet, and opera, to pop, heavy metal and disco. It’s his job to appreciate all genres. 

In closing we asked Peter two more questions. First: what does he see as the emotional heart of each of the 2026 season’s shows? His answers: 70s Disco Party – Beat; Canadian Legends 2 – Pride; The Holy Grail – Fun. We liked those!

Last question: as the 2026 Music Director of The Grove Theatre, what would you like the audience to feel at the end of each show?” His reply: “Entertained, with a smile and an emotional high.” He added thoughtfully, “theatre is nothing without an audience”. That one stayed with us.

It was a pleasure getting to know Peter both as a person and as a professional. He shared lots of fun memories, adding a little bit of that British humour. His responses were detailed and thought provoking. He comes across as modest, definitely a likeable guy, with a soft spot for wildlife. We are definitely looking forward to experiencing his work at The Grove Theatre this summer. 

If you missed the February Grove Guild session, you can catch interviews with Peter on The Grove Theatre podcast. You’ll be sure to get a feel for who Peter is, and his excitement for the season ahead.

Thank you, Peter Aylin, for sharing your time, and enthusiasm! 

Brenda Devine & Pj Murray, Co-Chairs

January 2026 - Jennifer Harding

Jennifer Harding - Creating a Great Tribute Show

We enjoyed an engaging, educational, and entertaining conversation with Jennifer Harding, the opening guest of the 2026 Grove Guild season. Jennifer has had a full and illustrious career, and she shared how deeply influential her father has been in shaping her path. Having worked in the theatre industry himself, he exposed Jennifer to the world of live performance at a young age, allowing her to shadow his work and learn firsthand that it takes to succeed. Those early experiences helped shape her into the professional actor and singer she is today—both on and off the stage. She shared with a laugh that he still offers unsolicited feedback on her work.

Jennifer also spoke about how instrumental her early career on cruise ships was. During that time, she performed in and directed forty-five-minute tribute shows, gaining invaluable experience in pacing, audience engagement, and musical storytelling—skills that continue to inform her work today.

Throughout the conversation, Jennifer demonstrated what it takes to build and sustain a prolific career. She described her proactive “what if?” mindset—asking questions like, “What if we tried this? What if we explored that?”—as a driving force behind her creative process. Rather than waiting passively for opportunities, Jennifer jumps in, analyzes possibilities, and actively works to move projects forward. She offered a clear example: while many actors apply for roles and wait for callbacks, Jennifer takes initiative and creates momentum. It was evident that Jennifer Harding makes things happen.

We then turned to defining what a tribute show truly is. Jennifer emphasized that a tribute show is not an impersonation. Recreating an artist’s voice, look, and stage presence carries risks if not executed flawlessly, often leading to disappointment rather than delight. Jennifer expressed the need to educate audiences about what tribute shows should be so that theater patrons have an unforgettable theatrical experience. What resonated for many of our guild members was her emphasis that tribute shows are a tribute to the artist(s).

According to Jennifer, great tribute shows should make a big splash. They are meant to evoke memories, inspire movement, and create joy. As Artistic Director for the 70s Dance Party and Canadian Music Legends Volume Two tribute productions at The Grove Theatre this season, her goal is to create “the memories that music evokes”, and to honor what that music means to each individual audience member. Her approach includes unexpected surprises, high energy, and thoughtful pacing. Rather than presenting long, drawn-out songs, she favors a montage- style format—snippets of music woven together to create a fast-paced, celebratory experience that leaves a lasting impression.

Our discussion then focused on how a great tribute show is built from the ground up. In planning The Grove’s 70s Dance Party, Jennifer began by assembling a list of approximately 60 songs. She listened to each one, building playlists and categorizing songs by artist and genre. From there, she reviewed the performers selected at auditions, carefully considering voice type, acting ability, musical style, dance skills, and instrumental talent—essentially matchmaking performers to material. Jennifer then collaborates closely with the Music Director to mix, condense, and refine the music, finding rhythms and transitions that work best together. Once the musical framework is set, costume and set design follow. Rehearsals begin in June, and just two and a half weeks later, it’s showtime!

Jennifer highlighted the demanding reality for Grove performers. While performing one show, artists are often simultaneously rehearsing for the next. Many juggle three to four productions in a season, requiring flexibility, stamina, and the ability to quickly shift gears—an important consideration during the hiring process.

As always, the recurring theme of “it takes a village” came up. Jennifer likened producing a show to baking a cake —every ingredient matters. Importantly, the audience is part of that recipe - the baking powder. Audience energy feeds the performers, energizing the stage and shaping the performance in real time. Without that energy, the show simply doesn’t rise to its full potential.

We also touched briefly on theatre etiquette. Performers can see and hear the audience—especially during daylight performances and particularly those seated close to the stage. While enthusiasm is always welcome (and dancing in front of your seat - never in the aisles - is encouraged!), respect for the performers and the performance is essential, as negative energy can also be felt.

On a personal note, Jennifer shared her gratitude for being able to live and work in the Kawarthas. After years of traveling and working abroad earlier in her career, she doesn’t take this chapter for granted. True to her proactive nature, she balances family, career, and self-care with intention—prioritizing her two young children through notes, daily FaceTime calls while she’s away, and maintaining self-care routines that include early mornings, yoga, and Pilates.

A fun fact to close: while Jennifer’s professional roots are in musical theatre, her favorite music genre is Country Rock. Her debut album, Sunday School Teacher, released in 2018, reflects that influence with a country and blues-inspired sound.

We were also delighted to hear that The Grove Theatre is creating a buzz within the industry. Jennifer shared that fellow performers are asking about Fenelon Falls and The Grove, curious about our theatre and our community. It’s wonderful to know that word is spreading about our little town and its remarkable theatre community.

November 2025 - Allison Bjerkseth

Allison Bjerkseth, Production & Facilities Manager, Costume Designer

We interviewed The Grove Theatre’s own Allison Bjerkseth to gain insights into the role of Production and Facilities Managers in the theatre.

Ironically, it was 5 years to the day, November 25, 2020, that Allison first visited the theatre site with Tim Wisener. Jokingly, she said Tim built the theatre for her but in reality friends had recommended her to Tim. The picture she shared to commemorate that visit showed the site in its early stage of construction.

Allison explained that although the roles and responsibilities of Production and Facilities Managers are similar across the industry, the journey to becoming a professional can vary. 

Allison began preparing for her career at a young age. Her high school in Pickering had a stellar theatre arts program where she was actively involved in school musicals and the school choir. An inspiring teacher became her mentor. By the time she graduated from high school, she had produced and performed her own one-person show, managing all aspects of the production herself, which provided her with insight into all the roles, not just those of an actor. She emphasized how fortunate she was to have attended a high school where the arts were equally as important as academic and sports programs. Allison was on her way… to a career in the theatre. 

Allison emphasized the importance of youth programs in the arts and music, such as The Grove Drama Camp, as they clearly pave the way for a lifelong journey in theatre, as was evident by her!    

Formal training at Windsor University in acting, stage management, and costume design (influenced by her mother, whom she described as an “exceptional” seamstress), and eventually dabbling in all aspects of theatre production, prepared Allison for her chosen career in Production Management.  

Allison’s full-time job as Production Manager for The Grove Theatre is a demanding one. She collaborates closely with Sean, The Grove’s Artistic Director, and his vision for each season in order to establish a practical and feasible budget based on funding. She scrupulously reads each of the season’s scripts to gain a deep understanding of their requirements, highlighting key elements that are essential for an authentic  production. With the set budget, she uses her creativity to source what is needed, choosing local options whenever possible. 

In tandem, Alison builds the first of many production calendars outlining the entire season, complete with contributions from her production team. This is colour-coded for easy reference. The first iterations are communicated to key team managers and designers. There are meetings with everyone involved to create a schedule that adheres to the Actors’ Equity Union’s strict guidelines. For instance, rehearsals and acting schedules must align with established protocols. Allison cited an example from last season: it took twelve iterations to finalize the schedule, requiring extensive back-and-forth communication and meetings to get it right.  

On top of all the moving pieces described above, Allison’s job also entails making sure each cast and crew member (some 30-odd people in total) has everything required for success both on and off the stage. This includes honoring contracts, making sure personnel have the required safety certifications, providing production schedules and scripts in advance, and run sheets & cue summaries for performances. She is responsible for ensuring a safe working environment for all, putting protocols and systems in place where needed. 

Offstage, Allison takes on the responsibility for everyone’s well-being, including comfortable living conditions, regular mentoring, and transportation when needed. Her primary goal is to make sure everyone succeeds in their roles. It was clear that Allison is a genuine person who is dedicated to treating each individual with care and respect, ensuring all their needs are met. 

All of this can come with challenges. That said, while Allison made it clear that everyone at The Grove is fully committed to the success of each individual and making each show a success, circumstances arise that are beyond their control. Dealing with issues such as weather and injuries, and working in tight quarters with tight schedules can create tension. It isn't always easy managing the varying energies, moods and vulnerabilities of individuals. While Allison is confident in her support role she feels the entire company would benefit from her receiving professional support to better process such interactions.  

Allison also indicated that a lack of physical resources such as limited storage space may not seem like a big deal but make her job all the more challenging. For example, when she  schedules changeovers for guest artists, where do things go in the interim so that dressing rooms can be quickly restored after they leave? All this requires logistical planning. Then, where does everything go after the strike (teardown) when the season ends? When asked of her wish list, Allison said she dreams of having the resources to better organize their workspace, including having a well-organized storage unit on site. 

At times Allison and her team have to make difficult calls. She shared that managing weather contingency plans, including performance holds or having to cancel or call a show during mid-performance due to weather are the most challenging decisions she and her Technical Director, Luke, have to make. 

Allison also shared a couple of industry challenges she has encountered. Sadly, as a female professional in a position of authority, she has often felt undermined despite her confidence and experience. On a scarier note, Allison shared her worst “chaos story” with us. Extreme weather challenged her to the max while attempting to travel 1000km by trailer overnight from one show to the next. But despite being stranded on a dark and snowy highway for hours with no sleep and being physically out of gas, she and her crew arrived at their destination and managed to get their next show up and running on time. Phew!  

In addition to Allison’s role as Production Manager, managing people, personalities, schedules and unforeseen situations, Allison is The Grove’s Facilities Manager. This role entails overseeing the theatre’s seasonal opening and closing, and site upkeep. As previously noted, Allison manages backstage and front-of-house site layout for each season. This includes all installs, upgrades, purchases, and improvements for the theatre.

Although Allison is not required to be present during performances, we can expect to see her again as she is often on site greeting theatre patrons and checking-in with her crew and cast before heading home after a 12-hour day. She gave us a practical takeaway: when we’re at the theatre and notice crew in black moving about quickly, they are addressing an urgent matter. Give them the space they need to support each other during their chaos! However, if you see them in a more relaxed moment, words of gratitude and encouragement on a job well done are welcomed and appreciated. 

When asked what Allison does to keep herself balanced and sane off the job, she shared her passion for pottery making, reading, and also doing what most of us do, unwinding with a good TV show while mindlessly scrolling on our phones.  

The theme is recurring: our personal takeaway is, once again, that it takes a village of directors, managers, designers, artists, crew, and volunteers to create, coordinate, and deal with the chaos that inevitably challenges a summer theatre. 

As we’ve witnessed through The Grove Guild presenters this fall, many hands make light work. Each of our guests has emphasized how large tasks can be accomplished when a passionate community works together, many wearing more than one hat, to accomplish the common goal of stimulating and pleasing staff and audiences. We, as patrons of the theatre, appreciate that!

October 2025 - Luke Hockett

Luke Hockett: The Grove Theatre’s 2025/26 Technical Director

Luke is a native of the UK, and a well-seasoned pro who's delivered productions across Europe. He spoke about his diverse training leading up to his 6-month apprenticeship in Toronto which later drew him back, to Fenelon Falls, to join The Grove as Technical Director for the 2025 season. 

Lukes’s position with The Grove has him working behind the scenes, so it was interesting for us to meet a new face. His friendly and seemingly easy-going manner seemed perfect for his role as Technical Director. He liaisons with other Grove directors, such as Christy & Sean, also working with production managers and designers (such as Allison Bjerkseth, whom we will meet later this month). Luke’s job entails advising on, overseeing, and executing all technical needs of the amphitheatre for all Grove performances, as well as working with the kid’s drama camp and visiting guest artists. He’s the point man responsible for bringing each show to life through lighting, sound, staging and special effects in an effective, timely and safe manner. 

Also, Luke supervises the building of installations on set, and he’s responsible for routine maintenance on lighting, sound, and rigging equipment that enhance each show. He mentioned he supervises some odd 14 staff and crew members to bring each show to life. He manages production budgets with the designer’s visions in mind. Luke emphasized that his position entails a lot of problem-solving, making last-minute decisions, and being able to pivot at any given time. He gave us examples of technical issues that arise with lighting: last season a spotlight had an issue—the theatre had to manage with only one spotlight meaning the technician on that spotlight had to listen to both sets of cues to execute his role. Sounds complicated. An example Luke gave us of a small sound hiccup is when a mic stops working; he must have a backup on hand and ready. If a string breaks on an instrument he must have one in reserve. On stage this summer, when Sophia sprained her ankle mid-season and the cast had to go back to rehearsals, he oversaw the adjustments made for a wheelchair on set, which meant changes had to be made in lighting and sound. In other words, glitches happen. So next season, when we see Luke sauntering around the lobby area there’s a good chance it’s been a smooth production! 

Luke is the first to arrive before each performance to check that all technical equipment is functional and safe. During performances he monitors each technical element to make sure everything is well coordinated and running smoothly. Luke’s the last to leave each night making sure all equipment is shut down and safely protected from the elements. It sounds as though Luke must be a conscientious guy!

There’s more—Luke must manage day-to-day variables of executing proper light and sound in response to weather, humidity, the time of day, and the landscape. For example, trees absorb and deflect sound waves. Performers voices can vary in the above conditions. Other factors such as working in an open-air theatre, the number of theatre goers in each audience, and the type of performance (the “relaxed performance” of Buddy, The Buddy Holly Story catered to a wider audience for those with sensory differences as well as for young families) all impact the theatre’s technical needs. Weather disturbances must also be taken into consideration; it was Luke’s call to cancel shows due to extreme heat and rain over the 2025 season. Luke certainly has an adaptable role at The Grove. 

Luke stated clearly that the Grove’s investment of new equipment has made the sound quality easier to navigate and adjust for various conditions. He expressed gratitude towards donors who donated to the Light Up The Grove Campaign for the purchase of equipment that was better suited for an outdoor environment, making his job smoother. 

It’s fair to conclude that the Grove’s movers and shakers are a cohesive group that work well together in planning, co-ordinating, preparing and executing all the demands of the theatre, both expected and unexpected! In closing—it’s also fair to summarize that Luke job is that of a super-supervisor. He oversees and monitors so many moving pieces. Since he’s coming back for The Grove’s 2026 season he must have done a fantastic job. On the flip side, The Grove must be a desirable company to work for as Luke is coming back for the 2026 season! 

September 2025 - Sean Cox

Sean Cox - Artistic Director

Our September Grove Guild event was a resounding success, filling The Grove Box Office with theatre-goers eager to hear from award-winning director and actor Sean Cox, Artistic Director of The Grove Theatre. We’re grateful to Sean for his inspiring and entertaining presentation!

Sean shared his journey from California’s theatre scene to Fenelon Falls, and a serendipitous meeting with his wife, Christy Yael, which inspired a shared vision that led to founding both Intrepid Theatre Company in San Diego and later The Grove Theatre. Today, Christy serves as Executive Director while Sean leads as Artistic Director, together guiding The Grove’s creative vision.

In his talk, “Building the Grove Season,” Sean offered a behind-the-scenes look at how each summer season takes shape. He highlighted the energetic 2025 “Rock ’n’ Roll” season, featuring Buddy: The Buddy Holly Story and three other crowd-pleasing tribute productions—each brought to life by its own creative team.

Sean also gave a sneak peek into The Grove’s 2026 Season, programmed earlier this year, with casting already underway (including dancers!). Auditions begin this month in Toronto, and audiences can look forward to a theme of FUN!—led by Monty Python’s Spamalot!

Though The Grove shines brightest in summer, Sean reminded us the theatre is always alive with planning, design, and rehearsal work year-round.

We hope you will join us again, October 28 at 4:15pm at The Grove Box Office for our next Guild session featuring Luke Hockett, 2025-26 Technical Director, who will share insights into the technical side of theatre magic.

August 2025 - Tim Wisener

Tim Wisener - Founder of The Grove Theatre

Fall greetings from The Grove Guild, Thank you to all who braved the rain to attend our first event. As they say in show business, “the show must go on!” The Grove Guild’s commitment to engage, educate and entertain is now underway!

Tim Wisener’s eye opening backstage tour revealed the passion, enthusiasm, and the hard work it takes to keep the theatre company running. The following were our takeaways:

Firstly, we witnessed how rudimentary the backstage area is. A series of approximately seven small beige-slatted back stage cabins serve as a multipurpose microcosm where big things happen. The area, a short jaunt from the stage (not visible to the audience), is where some 30 managers, crew and cast members work in preparation for each show. There’s a tiny office/ production hut, a dressing room, the “green room” (which functions as a dressing room/waiting area for the performers), and several storage huts. We also noted that the theatre runs without city services – water and irrigation are provided by local businesses. 

Next, we walked up the designated path through the woods and onto the open air stage. This was our moment to see and get a feel for how the shows “rock & roll” during performances. Behind the stage and up the back stairs, there’s a tiny roofed space that houses technical panels, musical instruments, and props. This “side wing” is meticulously organized for both efficiency and protection from the elements. We got to walk the catwalk where some of us stopped for an imagined celebrity moment and a few giggles. On the front stage, Tim explained how the “proscenium arch” (the decorated frame) and curtains evolved with the help of local businesses and volunteers who donated time, creativity, and materials. We observed the “spike tape” arrangements on the stage floor. Four sets of colored-coded symbols serve as cues for where an actor should stand or a set piece should be placed for each of the four shows.  

We then moved up the centre aisle of the amphitheatre to the “tech booth” or, as Tim referred to it: “air traffic control.” Mostly enclosed, it provides a clear, unobstructed view of the stage and serves as the central location for the technicians who operate the complex lighting and sound system equipment. It also serves as the stage manager’s station. Here we gained insight into the complex and pivotal role of the stage manager who is responsible for the workings and success of every performance. He/she communicates with the actors and crew members via headset. We were all amazed by the highly specific and detailed “prompt script” binders (all hand written) that are essential to each show. Fun fact: there are eleven stagehands required for each production.

Tim could have answered more questions but we were content with the insights we gained (small detail - it started pouring rain). We definitely parted with a good dose of theatre appreciation and all that goes into the inner workings of The Grove Theatre. 

Perhaps our biggest takeaway was that the founders of The Grove Theatre had a big vision–The theatre came to fruition through bold foresight, careful planning, creativity, dedication, perseverance, the ability to “go with the flow”, and not to mention volunteers, and fantastic Canadian talent. Tim made it clear that the theatre would not be the success it is today without the support of our community and the generosity of local businesses, season sponsors, the families that billet the actors and crew for three months, Grove patrons, and us theatre goers. What a macrocosm The Grove Theatre really is.  As the old saying goes, “it takes a village,” in this case, the village of Fenelon Falls.   

We’re excited to invite you to join us to our second event with Sean Cox, artistic director and co-founder of The Grove Theatre on Tuesday, September 30th from 4:30-5:30 pm at the Grove box office, 2 Water St, Fenelon Falls. Sean’s frank talk around Building The Grove’s Season will discuss the bigger picture behind the past and the upcoming season. Reserve your space with the invitation to follow. Refreshments will be served. Meet you there!