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