A Dangerous Game of Power, Desire and Mystery Is Coming to Peterborough

By Scott Arnold

There are some theatre productions you watch, applaud and leave behind. Then there are productions that follow you out the door, into the car and home with you, refusing to let go. Lisa Dixon is counting on Venus in Fur being the latter.

Lisa Dixon is bringing her vision for David Ives’ Venus in Fur to the Peterborough Theatre Guild stage, promising audiences a production filled with mystery, tension and unexpected turns when it opens September 18th. (Photo by Scott Arnold)

On September 18th, the lights will come up at the Peterborough Theatre Guild on Rogers Street, and two actors will take the stage for a 90-minute performance that director Lisa Dixon describes as “a train wreck of a production.”

And she means that in the best possible way.

“You just don't see it coming,” Dixon says.

Based on David Ives’ acclaimed play, Venus in Fur begins simply enough. An actress arrives unexpectedly to audition for a director working on a new adaptation of a classic novel. But as the audition and rehearsal unfold, the lines between actor and character begin to blur, and the balance of power between the two shifts in increasingly unexpected ways.

It is part psychological thriller, part dark comedy and part theatrical puzzle. It is also, according to Dixon, “so hot, so sexy,” while carrying an unmistakable sense of danger.

And she is determined not to give too much away.

“I can't say about 90% of it,” she says.

That is not a complaint. It is part of the fun.

With only two performers carrying the entire production, every glance, every movement and every exchange matters. Carissa Kaye and John Austin were exactly the pair Dixon was looking for, and their chemistry was apparent almost immediately.

“When they auditioned, it was a no-brainer,” she says.

Dixon put the two together to see whether they would work as a pair.

“Bam. It was electrifying.”

That chemistry has only intensified through rehearsals.

The production involves intimacy, physical danger and moments that demand a tremendous amount of trust between the performers. A knife and a gun are part of the production, while intimacy and fight direction is being handled by Mercedes Davy of The Gentle Blade Fight/Intimacy Direction.

Rather than shying away from the vulnerability the material demands, Dixon says Kaye and Austin have embraced it.

“They come ready. They're really hungry.”

That has made the director's job considerably easier.

“I am in really good shape,” she says with a laugh.

But while there may be only two people on stage, Venus in Fur is anything but a two-person effort.

Behind those performers is a creative team bringing Dixon's vision to life, including producer Kym Hyde, stage manager Marilyn Robinson, assistant stage manager Taya McKeen, sound designer and composer Beau Dixon, set designer Erin Brownson, costume designer Jayne Martin, hair and makeup designer Shelley Moody, and lighting designer Don White.

The result is a production that Dixon says has already become electrifying, even with weeks of rehearsal still ahead.

And then there is the set.

It is not supposed to be beautiful.

It is supposed to be unsettling.

The action takes place in a dark, dingy basement, reflecting the world of the play and the psychological atmosphere Dixon wants to create.

“It's gross,” she says. “It's a basement.”

Lighting and sound will add another layer to that atmosphere, with thunder, lightning, darkness and sudden changes in light helping create what Dixon describes as a psychological-thriller feeling.

Much of that work is being done by people Dixon knows extremely well.

Her brother, Beau Dixon, is the production's sound designer and composer, continuing a creative partnership that goes back much further than this particular production.

In fact, theatre has been part of the Dixon family for as long as Lisa can remember.

She recalls being children and putting makeup on her brothers, dressing them in hats and dresses and reenacting musicals and plays.

“We were doing theatre since we could walk, since we could sing and talk.”

Working with Beau professionally now is a continuation of that lifelong collaboration.

“He is a professional,” Dixon says. “He gets it.”

What she particularly appreciates is the balance between his expertise and her vision. He brings his professional experience to the process while respecting what she wants the audience to see, hear and feel.

That collaborative spirit extends throughout the production.

Dixon says directing means having a vision and ultimately having the final say, but it also means being willing to listen, experiment and give people an opportunity.

One example is set designer Erin Brownson, who is just 23 years old and lives in Toronto. Dixon has known her since she was born and knew she had experience designing sets through theatre school.

So Dixon gave her a chance.

The result, she says, is an amazing set.

Brownson's father is also the head builder, bringing his own expertise to turning the design into reality.

That combination of experience, new ideas and trust is something Dixon believes is essential to community theatre.

“You have to be very careful and you have to be very open to new ideas,” she says.

Sometimes there are disagreements. Sometimes people have to pivot. But ultimately, she says, the goal is the same.

“It is always the creative process and the drive to make it right despite anything else.”

That spirit is one of the reasons Dixon believes Peterborough's arts community punches so far above its weight.

She points to organizations and venues including Fourth Line Theatre, Public Energy, Peterborough New Dance, the Peterborough Theatre Guild, Black Box Theatre and Theatre on King.

There is a richness of storytelling here, she says, and perhaps something in the water that makes people want to create.

Dixon knows that firsthand.

A chef by trade, she moved to Peterborough to open Black Honey and says she was immediately impressed by the city's food scene and the number of independent restaurant owners creating something of their own.

She sees that same spirit in the arts.

“Everyone's so rich with concept of storytelling and then making it come to life, which is the hard part.”

Having an idea is one thing.

Making it happen is another.

Making it good enough that people will pay to experience it is something else entirely.

And for Dixon, that final step is what makes live theatre so special.

“You can do that if you live in another city, but while you're in Peterborough, go see the arts.”

For her, Venus in Fur is another chance to do exactly that.

Dixon first encountered the play when Bea Quarrie presented it as a stage read at the Theatre Guild last year. The Guild stages five reads a year, giving actors, directors and audiences a chance to experience material that may be different from the organization's usual productions and see how it works.

The reading stayed with Dixon.

She had directed 291 at the Theatre Guild the previous year and wanted to take on something different.

But she wondered whether Venus in Fur might be too provocative for a Peterborough audience.

She was wrong.

“I thought the Theatre Guild would say, it's a little too spicy for the Peterborough crowd,” she says.

Instead, they gave her the opportunity.

“This is going to blow you away,” Dixon says.

And she is clearly thrilled to be the one bringing it to the stage.

There is still work to do before opening night. Rehearsals have been underway for about three months, generally twice a week, with everyone involved balancing the production with their other jobs and commitments.

But Dixon has resisted adding a third rehearsal each week.

Her actors are simply that prepared.

Now she is looking ahead to September 18th and the moment when months of work become something shared with an audience.

She compares it to preparing a meal for a large group. As a chef, she knows that the final product may have one person's name attached to it, but it takes many people to make it happen.

The same is true here.

“It’s so many other people involved.”

And she is looking forward to the feeling that comes just before the curtain rises, when everyone involved knows there is no turning back.

“That gut feeling,” she says. “You kind of feel scared and it's fluttery.”

Then comes the audience.

Dixon does not simply want people to enjoy the show. She wants it to get inside their heads.

She wants the laughter.

She wants the horror.

She wants the shock.

And, most importantly, she wants the questions that come afterward.

“I'm so looking forward to people getting up when the show is done and thinking what's going on in their heads,” she says.

Because Venus in Fur is designed to linger.

“Two or three days later, you'll get people saying, ‘Wow, I can't stop thinking about it.’”

That, to Dixon, is theatre at its most powerful.

The play may be built around two people locked in a struggle for power, but she believes its themes reach far beyond the stage.

“It's a classical story about two people in a power struggle and we're always facing that.”

She hopes audiences will recognize something of themselves in it, perhaps finding a situation in their own lives that makes them think, question or confront something they have yet to come to terms with.

And then, somehow, come away from it with a sense of joy.

That is a lot to ask from 90 minutes of theatre.

But Dixon clearly believes Venus in Fur can deliver.

She has the actors. She has the creative team. She has the vision. And she has a play that she is deliberately keeping just mysterious enough to make audiences wonder what, exactly, they are walking into.

One thing is certain: whatever happens when Carissa Kaye and John Austin step onto that stage, Dixon does not want to tell you everything beforehand.

She wants you to experience it.

She wants you to be surprised.

And she wants you to still be talking about it after the lights come up.

If Dixon gets her wish, however, the real payoff will come long after the tickets are scanned, the applause fades and audiences head for home.

They will still be thinking about what they just saw.

And perhaps wondering what, exactly, happened in that basement.

Scott Arnold is a Journalist and Content Creator at PTBOCanada Media Inc

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2-for-1 Tickets Available For Venus in Fur Opening Weekend at Peterborough Theatre Guild

By Scott Arnold

Two seats for the price of one gives theatre fans a chance to catch Venus in Fur when the production opens at the end of September.

Venus in Fur brings a provocative mix of dark comedy, psychological tension and shifting power to the stage, opening September 18th with a limited-time 2-for-1 offer for opening weekend.

The limited-time offer is available for the Friday, September 18th and Saturday, September 19th performances, with the code VENUS. The promotion runs until September 7th, 2026.

Written by David Ives, Venus in Fur follows an actress who unexpectedly arrives to audition for a director working on an adaptation of a classic novel. As the rehearsal progresses, the lines between actor and character begin to blur, with the balance of power shifting along the way.

The production combines elements of psychological thriller, dark comedy and theatrical mystery, keeping audiences guessing through its conclusion.

The opening weekend performances are:

• Friday, September 18th at 7:30pm, Opening Night

• Saturday, September 19th at 7:30pm

The full performance schedule also includes a 1:30pm matinee on Sunday, September 20th, followed by performances September 24th through 27th and October 1st through 3rd. The October 3rd performance is Closing Night.

The cast features Carissa Kaye and John Austin, with Lisa Dixon directing.

Regular ticket prices are $30 for adults, $27 for seniors and $20 for students.

For the 2-for-1 opening weekend offer, use code VENUS when purchasing tickets. The special pricing is available until September 7th.

Scott Arnold is a Journalist and Content Creator at PTBOCanada Media Inc

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Peterborough Theatre Guild in Search of Actors for New Canadian Play About Family and Dementia

By Scott Arnold

The Peterborough Theatre Guild is looking for actors for a new Canadian play exploring family, caregiving and the difficult realities of Alzheimer’s disease and dementia.

Actors interested in joining the Peterborough Theatre Guild’s production of Instantaneous Blue can audition for one of several lead and supporting roles beginning September 28th (photo courtesy of Peterborough Theatre Guild)

Instantaneous Blue follows Edward and Sara, a couple pursuing creative careers as they become first-time parents, while Edward’s parents, Judith and Bob, begin struggling with signs of cognitive decline.

As the family navigates the changes, they encounter police officers, medical professionals, paramedics and support workers, while facing difficult decisions about caring for their aging parents.

The Theatre Guild is holding auditions on September 28th, September 30th and October 5th, with callbacks scheduled for October 7th. Auditions will involve cold readings from the play and some improvisation.

There are four lead roles, along with three supporting roles that involve actors playing multiple characters.

The Peterborough Theatre Guild will bring Instantaneous Blue to the stage in February and March 2027, with the new Canadian play exploring family, parenthood, caregiving and dementia (photo courtesy of peterborough theatre guild)

The lead roles are:

• Judith: A woman in her 60s to 80s who experiences cognitive decline that is eventually diagnosed as Alzheimer’s disease.

• Bob: A man in his 70s or older who wants to remain independent while dealing with his own decline.

• Edward: A man in his 30s to 40s balancing new parenthood, his career, his relationship and caring for his parents.

• Sara: A woman in her 25s to 35s who is transitioning to motherhood while supporting Edward and dealing with her own demands.

Supporting roles include a PSW who plays two characters, a gerontologist/paramedic who plays two characters, and an actor playing a police officer, paramedic and male care aide.

The Guild says the age and gender specifications apply to the characters and do not necessarily dictate the age or gender of the actors. It also encourages performers from a wide range of backgrounds and experiences to audition.

The production deals with mature themes, including Alzheimer’s disease and dementia, family illness, strong language, sexual elements and depictions of conflict. Physical and emotional demands are part of the four lead roles. A certified Fight and Intimacy Director will work with the production team on scenes involving physical conflict and intimacy.

Rehearsals are expected to begin the week of October 25th, with rehearsals scheduled Sundays from 10am to 1pm and Mondays from 6:30pm to 9:30pm. There will be no rehearsals during the final two weeks of December, with rehearsals resuming January 4th.

Instantaneous Blue will run from February 26th to March 13th, 2027, at the Peterborough Theatre Guild, 364 Rogers Street.

Audition Details

• September 28th: 6:30pm to 9:30pm

• September 30th: 6:30pm to 9:30pm

• October 5th: 6:30pm to 9:30pm

• Callbacks: October 7th, 6:30pm to 9:30pm

• Location: Studio A, Peterborough Theatre Guild

Those interested in auditioning can book an audition spot and find additional character information through the Peterborough Theatre Guild’s audition page.

Scott Arnold is a Journalist and Content Creator at PTBOCanada Media Inc

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Peterborough Theatre Guild Holding Auditions for Classic Comedy Noises Off

By Scott Arnold

If you've ever wanted to step onto the stage, the Peterborough Theatre Guild is looking for performers for its upcoming production of the award-winning comedy Noises Off.

Launched in 2025, the Builders in Residence Program welcomes canoe and kayak builders, artists, and makers from across the country to share their skills, stories, and craftsmanship with Museum visitors (photo courtesy of the canadian canoe museum)

Auditions will take place on Thursday, September 10th and Friday, September 11th at the Peterborough Theatre Guild on Rogers Street. If all audition spots fill up, an additional session will be added on the afternoon of September 11th, with callbacks scheduled for Saturday, September 12th.

Directed by Kathryn Condon, Noises Off is widely regarded as one of the funniest stage farces ever written. The play follows a theatre company as everything that can go wrong behind the scenes does exactly that, creating plenty of fast-paced comedy both on and off the stage.

The Guild is casting nine roles, including actors portraying the fictional cast of the play-within-a-play, as well as the director, stage manager and assistant stage manager. Several of the roles involve physical comedy, while others require strong comedic timing.

Auditions will be held in a group format. Participants will perform a provided monologue before working through it with the director and presenting it a second time.

The Peterborough Theatre Guild says it is committed to inclusive casting and encourages performers of all backgrounds, identities, ages, abilities and lived experiences to audition.

Noises Off is scheduled to run from January 22nd to February 6th, 2027, with performances at the Peterborough Theatre Guild.

Anyone interested in auditioning can find detailed character descriptions, audition monologues and booking information on the Peterborough Theatre Guild website.

Scott Arnold is a Journalist and Content Creator at PTBOCanada Media Inc

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The Peterborough Theatre Guild Presents Young Frankenstein

The Peterborough Theatre Guild has introduced its next production: The Mel Brooks Musical Young Frankenstein, with opening night on April 17.

photo courtesy of the peterborough theatre guild.

The story follows Frederick Frankenstein, the grandson of the infamous Victor Frankenstein. When Frederick inherits his family’s estate in Transylvania, he finds himself drawn into the mad science legacy he tried so hard to escape. With the help of a hunchbacked assistant, Igor, and a spirited lab assistant, Inga, Frederick reluctantly follows in his grandfather’s footsteps and soon discovers the thrill of bringing a creature to life.

The musical features numbers like “The Transylvania Mania,” “He Vas My Boyfriend,” and “Puttin’ on the Ritz,” as Young Frankenstein delivers a night of monstrously good entertainment.

Due to mature themes and content, Young Frankenstein is recommended for audiences 16 years and older.

Show dates include April 17, 18, 19 (matinee), 23, 24, 25, 26 (matinee), 30 and May 1, 2, 3 (matinee). Evening performances begin at 7:30 p.m., and matinees begin at 1:30 p.m. at the Peterborough Theatre Guild (364 Rogers St.)

Tickets range from $27 to $42, including fees and can be purchased on their website or by calling the box office.

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Peterborough-Born Playwright Brings Midnight Madness To The Peterborough Theatre Guild This Month

Canadian playwright and Peterborough native Dave Carley presents Midnight Madness, coming to the Peterborough Theatre Guild starting Feb. 27.

photo courtesy of the peterborough theatre guild.

The witty and heartfelt comedy is set just minutes before midnight on the final night of Bloom’s Furniture’s going-out-of-business sale. Midnight Madness unfolds in the store’s upstairs bed department where Wesley, the department manager, is closing up for the very last time; alone, overlooked and facing the end of a career that never quite lived up to his hopes.

Then a blast from his past comes charging up the stairs.

When Anna Bregner arrives in Wesley’s domain, she has no idea the salesman is a former classmate. Wesley, however, remembers her all too well. He has kept tabs on all his former classmates. Anna, despite early setbacks, has put herself through law school and returned home to Ashburnham to begin her legal career. Her fresh start collides poignantly with the end of Wesley’s.

As the night unfolds, Anna and Wesley revisit the humiliating high school events that drove them both away before graduation. Together, they discover that some burdens can finally be let go.

Show dates include Feb. 27 and 28, March 1 (matinee), 5, 6, 7, 8 (matinee), 12, 13 and 14. Evening performances begin at 7:30 p.m., while matinees start at 1:30 p.m.

Tickets range from $20 to $30 including fees can be purchased online.

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Peterborough Theatre Guild Kicks Off 2025-26 Season With "Opening Night" Production Starting Sept. 19

The Peterborough Theatre Guild’s (PTG) production of ‘Opening Night’ will lead off the 2025-26 season, with 10 dates slated for September and October.

Photo courtesy of the PeterborougH Theatre Guild.

Two matinee shows are scheduled for 2 p.m. and evening shows are at 7:30 p.m.

Show dates run on the following dates: Sept. 19, 20, 21* 25, 26, 27, 28* Oct. 2, 3 and 4.

*denotes matinee performances

Written by Canada’s most-produced playwright, Norm Foster, the production is directed by Margaret Monis. According to PTG, Opening Night follows a middle-aged couple out for an evening at the theatre—he’d rather be at home watching the game, she’s looking for a romantic night out—and the comedic chaos that ensues when backstage antics and front-row drama collide. With Foster’s trademark wit and warmth, this play offers hilarious insights into love, timing and what it really means to put on a show.

Tickets are $20-$30 (including fees) and can be purchased by calling (705) 745-4211 or visiting Peterborough Theatre Guild’s website.

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Peterborough Theatre Guild Announces Six Theatrical Productions For 2025-26 Season

The Peterborough Theatre Guild has released its lineup for the upcoming 2025-26 season with six theatrical productions slated to run from late September to early May next year, announced on Monday.

Photo courtesy of the Peterborough Theatre Guild.

The following the shows and dates:

• Opening Night by Norm Foster

  • Directed by Margaret Monis

  • Sept. 19 – Oct. 4

• 291 by Jade O’Keeffe

  • Directed by Lisa Dixon

  • Nov. 1 – 15

• The Emperor’s New Clothes by Gerry McBride based on the story by Hans Christian Andersen

  • Directed by Gerry McBride

  • Dec. 5 - 14, 2025

• Where You Are by Kristen Da Silva

  • Directed by Jerry Allen

  • Jan. 16 - 31, 2026

• Midnight Madness by Dave Carley

  • Directed by Jane Werger

  • Feb. 27 – March 14, 2026

• The Mel Brooks Musical Young Frankenstein Book by Mel Brooks and Thomas Meehan, Music and Lyrics by Mel Brooks, Original Direction & Choreography by Susan Stroman

  • Directed by Nate Axcell

  • April 17 – May 3, 2026

The season starts with Opening Night by renowned Canadian playwright Norm Foster, directed by Margaret Monis. This hilarious play takes audiences on a journey behind the scenes of a chaotic theatre premiere. Get ready for twists and turns, sharp wit and great characters.

Adding a dramatic twist, 291, written by local playwright Jade O’Keeffe and directed by Lisa Dixon, brings a touch of historical intrigue with a locally written piece that delves into the letters between acclaimed artist Georgia O’Keeffe and her lover, photographer Alfred Stieglitz. This original work highlights the artistry and emotion behind one of history’s most famous creative couples.

As the holiday season approaches, families can enjoy the beloved children's production of The Emperor's New Clothes, written and directed by Gerry McBride. Based on Hans Christian Andersen's fairy tale, this adaptation promises to be full of humour and enchantment for audiences of all ages.

Where You Are by Kristen Da Silva, directed by Jerry Allen, is a comedy that features a heartwarming tale of love, family, and unexpected second chances in a charming, small-town setting.

Midnight Madness by Peterborough Native, Dave Carley, is a romantic comedy about two former classmates who unexpectedly reunite at a furniture store’s going-out-of-business sale.

For those who love a musical spectacle, the season rounds out with the electrifying production of Young Frankenstein by Mel Brooks and Thomas Meehan, directed by Nate Axcell. This hilarious parody of the horror genre promises electrifying choreography, clever wordplay and big belly laughs.

Season and individual show tickets will be available starting July 1 through the box office and online.

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Peterborough Theatre Guild Announces New Year Production 'Outside Mullingar' For January/February

The Peterborough Theatre Guild’s first production of the new year, ‘Outside Mullingar’ has been announced with 10 shows scheduled spanning from late January to early February.

Photo courtesy of the Peterborough Theatre Guild.

Shows are occurring on Jan. 24, 25, 26, 30, 31 and Feb. 1, 2, 6, 7, and 8 at the Peterborough Theatre Guild. Shows begin at 7:30 p.m., while matinees (Jan. 26, Feb. 2) are at 2 p.m.

Anthony and Rosemary are two introverted misfits straddling 40. Anthony has spent his entire life on a cattle farm in rural Ireland, a state of affairs that—due to his painful shyness—suits him well. Rosemary lives right next door, determined to have him, watching the years slip away. With Anthony’s father threatening to disinherit him and a land feud simmering between their families, Rosemary has every reason to fear romantic catastrophe. In this very Irish story with a surprising depth of poetic passion, the journey of eccentric souls is heartbreaking, funny as hell, and ultimately deeply moving. Outside Mullingar is a compassionate, delightful work about how it’s never too late to take a chance on love.

Tickets range from $20 to $30 (including fees) and are available online or by phone at (705) 745-4211.

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Peterborough Theatre Guild Announces 'Dorothy in Wonderland – The Musical' As Next Production For November/December

The Peterborough Theatre Guild has announced its next production, ‘Dorothy in Wonderland – The Musical’ which will run 9 shows spanning late November and early December.

Photo courtesy of the Peterborough Theatre Guild.

Shows are occurring on Nov. 29, 30, Dec. 1, 3, 4, 5, 6, 7 and 8. Shows begin at 7:30 p.m. while matinees (Nov. 30, Dec. 1, 7 and 8) are at 2 p.m. at the Peterborough Theatre Guild.

Dorothy Gale has made her way to the end of the Yellow Brick Road and the wonderful Wizard of Oz is just about to help her get back home to Kansas. But before she can hop into the wizard’s balloon, another whirlwind appears over the Emerald City, sweeping Dorothy, Toto, Scarecrow, Tin Man and Lion away to Wonderland. Equipped with their new assets — brains, heart and courage — Dorothy’s friends try to help her find her way home, meeting many other interesting characters along the way, including Alice, the White Rabbit, Mad Hatter, March Hare, the Cheshire Cat and many more. They also must face a dangerous new foe — the Queen of Hearts.

Tickets are $15 for any seat and are available online or by phone at (705) 745-4211.

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