Janet Jarrell, Executive Director janet@quinteartscouncil.org
Andrew Gray, Program Director drew@quinteartscouncil.org
Kim Lidstone, Bookkeeper qac@quinteartscouncil.org
Graphic Design: Drew Gray
The Quinte Arts Council is a not-forprofit, charitable organization, registration number 107869448 RR 0001. Published by: The Quinte Arts Council, P.O. Box 22113 Belleville, Ont. K8N 2Z5.
Material may be reprinted only with permission. Umbrella is available in digital format through Issuu. The information contained within is believed to be reliable, but accuracy cannot be guaranteed. We do not assume responsibility for any errors and/or omissions related to submitted content.
A Message from the Executive Director
What an incredible time to be part of the arts in Quinte! From packed festivals to powerful performances and new creative voices emerging every day, there’s a real energy in our community right now — and this issue of Umbrella captures it beautifully.
The Arts Recognition Awards was a truly special celebration of creativity and community. Not only did we honour six outstanding recipients nominated by the community for their remarkable contributions to the arts, but we also celebrated our Ontario Arts Council (OAC) community — the incredible local artists and arts organizations whose work is supported by the OAC and continues to enrich our region in countless ways. It was especially meaningful to see representation from all levels of government there to show their support for arts and culture in Quinte. Moments like that remind us how strong, vibrant, and united our arts community truly is.
This fall issue of Umbrella is packed with stories that celebrate the incredible tal-
ent and diversity of our local arts scene. We’re still buzzing from the success of the first-ever Beautiful View Music Festival, which brought people together from across the region to share in the joy of live music. Our music community continues to thrive, and we’re proud to feature so many of its shining stars!
We’re also celebrating the visual arts — painting, sculpture, and photography — including a special section highlighting the winners of the Student Photography Contest, generously sponsored by Bay of Quinte RMB. The creativity of these young artists gives us so much hope for the future.
Inside, you’ll find stories that reflect every corner of our cultural landscape — from the rise of local film and Tweed & Co.’s own Tricia Black, to the inspiring voices of our Deaf artists, to a must-listen podcast by Sean Scally exploring music and storytelling in fresh, exciting ways. We’re shining a light on arts education, heritage, and craft, all while highlighting a truly mean-
QAC programs are funded in part by: John M. & Bernice
ingful local program — Parkinson’s Dance, where movement and music bring joy and healing to so many.
And finally, look at that cover — a stunning sculpture by Doug Robinson, whose work captures both strength and grace. It’s a perfect symbol of the creativity and resilience that define our community.
As you flip through this issue, I hope you feel as inspired as I do by the artists, makers, and creatives who continue to shape the cultural landscape of our region. The arts are alive and thriving in Quinte — and together, we’re just getting started.
Warmly,
Janet Jarrell Executive Director,
Cover: Doug Robinson, Christopher Gentile Back: QAC Good Stuff Award Winner, Gavin R
Janet Jarrell, Executive Director
Quinte Arts Council
Message from the Chair + Contributors
Board of Directors
All levels of gov't show up to celebrate the QAC Arts Recognition Awards
Photography
Amanda Searles
Music
First Beautiful View Music Festival a success
Matt Smith: From the roots
Jonah McLean, Emerging artist, old soul
Fine Arts
Susan Moshynski: Realism with a twist
Herb Deary: Alternative photography and art
Film
Tricia Black: From Tweed to TV Screens Everywhere
Animated Aesthetic: Bridging Disciplines
Podcast
Echoes of the Bay of Quinte
Heritage
Edith Cavell: Hero of Nursing
Celebrating Deaf Culture in Belleville
Craft
Picton's Birdhouse City
Performing Arts
Parkinson’s Dance at QBSC
Theatre
Brighton Barn Theatre
The Improvmonauts: Catch them if you can
Arts Education
Eastside Secondary School Art Program
Quinte Arts Council
Flowers & Femininity
Canadian Landscapes
Student Photography Contest
Bay of Quinte Regional Marketing Board Artist to Watch
Doug Robinson
A Message from the Chair
Greetings, my name is Rick Moulton, and I have the privilege of chairing a truly brilliant Board of Directors for the Quinte Arts Council. As the latest in a line of dedicated Board Chairs—most recently Brit Johnston—I am deeply aware of the significant role the QAC plays in our community. Guided by our Mission Statement, we are proud to be the community leader in advancing, cultivating, promoting, and advocating for an inclusive, vibrant, and diverse arts community in the Quinte region.
How do we do this? By empowering artists through community programs such as Arts Education, YouthCreate, CreateWell, Arts Recognition Awards and professional development; by securing space for individuals and groups to create and share their work; and by producing and curating content through our website, social media channels, and of course, our extraordinary Umbrella magazine. This is a huge commitment, requiring the collaboration of numerous writers, contributors, and QAC staff—resulting in an exceptional return on your investment.
And the results speak for themselves. A recent report by the Ontario Arts Council shows that Belleville ranks second only to Ottawa in arts and culture job creation in Eastern Ontario. The same study found that “every dollar invested by the Ontario Arts Council generates $25 in other sources of revenue” (Arts Across Ontario Study, 2024). This is powerful evidence that supporting the QAC not only uplifts artists, but also strengthens our local economy.
Can we do more? Absolutely. With increased funding, the QAC can expand its programs, support more artists, and further enrich the cultural identity that helps our region thrive.
On behalf of our entire team, thank you for your continued support of our work and our shared goal of advancing the arts in our region.
Finally, I am delighted to extend a warm welcome to our newest board members, Donna Davies and Christina
Contributors
Akrong. We are so pleased to have your passion and insight at the table as we continue building a bright future for the arts in Quinte.
Cheers,
Rick
Greg Teal
Greg Ceci
Peter Paylor
Jennifer Shea
Scott Williams
Allison Nichol Longtin
Rick Moulton
Janet Jarrell
Richard Hughes
Board of Directors
Board of Directors 2025
Christina Akrong Director
Brit Johnston Past Chair
Donna Davies Director and Arts Education
Rachael Lidstone Treasurer
Sean Sroka Director and Community Engagement
Rick Moulton Chair
Maribeth deSnoo Director and Fund Development
This November, several downtown venues, including the Pinnacle Playhouse, Theatre in the Wings, The John M. Parrott Gallery, Gallery 121, the Belleville Art Association Gallery and the QAC Cultural Hub will host events exploring the fascinating history of Belleville and how it has shaped contemporary perspectives.
TheQAC Arts Recognition Awards
QAC proudly
celebrated the 31st annual Arts Recognition Awards Luncheon honouring six outstanding members of the Quinte arts community. Emceed by Sean Sroka with live music by Tony Silvestri, the luncheon gathered community leaders, elected officials, artists, and supporters to recognize the profound impact of arts and culture in the Quinte region.
“A dancer, a thespian, a visionary artist, a brilliant songwriter, a world-travelling photographer, and a master of community projects all here to be celebrated for their remarkable contributions. This year’s honourees have made a profound impact on arts and culture in our community,” said Janet Jarrell, QAC Executive Director. “This annual recognition is about more than any one individual or organization—it’s a celebration of the Quinte community itself, uplifted by these extraordinary people who are trailblazing a path toward an even more vibrant future.”
The celebration highlighted six remarkable recipients: Luisé Cisneros, Emebet Belete, Phil Bowerman, Lola Reid-Allin, Kristina McIntosh, and Jennifer E. Brant. Each was recognized for their contributions to the arts, cultural leadership, and their lasting impact on the creative vibrancy of the Quinte region.
Rick Moulton, Chair of the QAC Board of Directors, opened the ceremony by
emphasizing the council’s long-standing commitment to fostering creativity and inclusion. “Arts and culture are more than performances and exhibitions,” Moulton said. “They are the core of our communities, fostering belonging, resilience, and pride. Today, we celebrate not just six exceptional individuals, but the collective power of the arts to transform lives.”
Local leaders echoed this sentiment. Neil Ellis, Mayor of Belleville, and Tyler
Hon. Stan Cho, Minister of Tourism, Culture and Gaming
Tony Silvestri
Chris Malette, MP Bay of Quinte, Janet Jarrell, QAC, Jennifer E Brant, Award Recipient, Tyler Allsopp, MPP Bay of Quinte, Neil Ellis, Mayor of Belleville
Allsopp, MPP for Bay of Quinte, reflected on the economic and cultural benefits of a thriving arts sector. “The arts community in Bay of Quinte contributes much to our region through expressive, thought-provoking work that can entertain, challenge and inspire audiences, fostering community and driving economic activity,” said Allsopp. “Congratulations to the six Arts Recognition Awards winners on today’s recognition of their leadership, their vision, and their action.”
National and provincial voices also weighed in. Hon. Stan Cho, Minister of Tourism, Culture and Gaming, and Chris Malette, MP for Bay of Quinte, praised the resilience and innovation of artists in the region. Missy Knott, Board Director with the Ontario Arts Council (OAC), spoke passionately about the OAC’s Arts Across Ontario report, underscoring how the arts not only enrich lives but also strengthen local economies.
The six honourees represented a powerful cross-section of Quinte’s artistic
talent and leadership: Cisneros’ installations interrogating identity and queerness, Belete’s community-bridging crochet public art, Bowerman’s five decades of devotion to theatre, Reid-Allin’s global photography and storytelling, McIntosh’s life-changing dance program for people with Parkinson’s, and Brant’s cultural advocacy and Mohawk language revitalization.
As Jarrell noted, the event was not only about recognizing individual achievement but also about sustaining the future of the arts. The luncheon served as the QAC’s annual fundraiser, supporting programs that empower artists, cultivate creativity, and build an inclusive cultural community across the Quinte region.
Photography by Titus Tolentino
Quinte Arts Council
OAC Board Director Missy Knott with Isaac Akrong
Aaron Doupe accepting for Luisé Cisneros, Kristina McIntosh, Lola Reid Allin, Jennifer Brant, Emebet Belete, Phil Bowerman
Prince Edward County
Amanda Searles
B ased in Shannonville, Amanda
Searles is a local nature and wildlife photographer whose passion for the outdoors began at a young age. Moving across Canada with her family exposed her to the country’s diverse wildlife and landscapes, sparking a lifelong fascination with the natural world. Fourteen years later, she received her first camera—a Canon Rebel T3i—and hasn’t looked back since (except, of course, to capture something through the lens).
Influenced by travel and exploration, Searles often visits native wildlife hot spots such as Presqu’ile Provincial Park, the Frink Centre, the Bayshore Trail, and Algonquin Provincial Park in search of new photo opportunities.
A self-taught photographer who continues to learn and grow, Amanda primarily focuses on wildlife but has expanded into landscapes, flora, and macro photography. Her goal is not simply to take beautiful pictures, but to tell stories and evoke emotion— encouraging a deeper appreciation for the natural world.
Through her photography, Searles hopes to educate and inspire others to look more closely at the wildlife and nature that surround us, and to reflect on the beauty—and fragility—of this breathtaking planet we all share and call home.
Amanda Searles
QAC Profile
Photography
Photography
Photography
Music
Beautiful View Music Festival
By Janet Jarrell
B
elleville's down -
town came alive this September with the debut of the Beautiful View Music Festival, a new celebration of indie artistry and community spirit. Produced by acclaimed artists Hannah Georgas and Sean Sroka (Ten Kills the Pack), the festival drew music lovers into cafés, bars, and gathering spaces throughout the afternoon, filling the city with sound, creativity, and connection.
The lineup was as dynamic as the venues themselves. Artists Cedric Noel, Justin Rutledge, Burs, Boyhood, Fraser, May Shukla, and Julia Finnegan each brought their own style and energy, creating a patchwork of raw talent and heartfelt performances. The result was a day that felt both intimate and electric—an invitation to discover new voices and celebrate a shared love of music.
“There’s a lot of artists travelling the 401 run—Toronto, Kingston, Ottawa, Montreal—and the towns in between often get missed,” says Sroka. “Part of this festival is being able to introduce Belleville as a market to agents, to their managers, and make sure there is a temple event that allows [them] to see
Hayden
there are creative people here, and festivals can be a success.”
The community’s support was unmistakable. The festival was presented, sponsored and supported by many community organizations. Local businesses leaned in, including Reid’s Dairy, whose team handed out free ice cream, chocolate milk, and swag to festival-goers — refreshing fuel for an afternoon of music-hopping.
The energy built toward the festival’s sold-out evening showcase at Capers, where fans packed the space for moving performances by Bells Larsen, Julie Doiron, and the legendary Hayden. The room pulsed with tender melodies and rising choruses, proving Belleville is more than ready for a festival of this caliber.
For Georgas and Sroka, the vision was simple: create a space where indie artists could shine and where Belleville
could carve out a place on the touring map. For the community, it became something even bigger—a celebration of identity, belonging, and the power of music to bring people together.
With its promising debut, Beautiful View Music Festival looks poised to be-
come a staple of Belleville’s cultural calendar. As the name suggests, it offers not just a beautiful view of the city, but a glimpse of its bright creative future.
beautifulviewfestival.com
Photography by Christine Reid
Music
Julia Finnegan
Cedric Noel
Music
MattSmith has been called one of the hardest-working musicians around—and he’s certainly got his fingers on a lot of frets. A world-class mandolinist and slide guitarist, his passion for music is something he’s always been thankful for. Smith has been playing since the age of nine and performing professionally for thirty-six years.
From the Roots
By Greg Teal
“I’m grateful to live in such a vibrant artistic centre,” says Smith. “I have always loved the opportunities to entertain and engage, musically, with all the folks I’ve grown up with and everyone that comes to enjoy our beautiful part of the country.”
One of Matt’s latest projects is The Matt Smith Trio, featuring Phil Woodard on
bass, Gary Buffet on drums, and Matt on vocals and guitar. The trio performs unique interpretations of classic standards—from jazz to country to rock—all “deeply informed by the blues,” says Smith.
From a stripped-down version of The Mavericks’ “All You Ever Do Is Bring Me Down” to a soulful performance of Van
Jackie Findlay and Matt Smith, Photo by Sean Fritz Empire Theatre
Greg Teal
Morrison’s “Into the Mystic,” The Matt Smith Trio delivers shows that truly have something for everyone. They’ve recently played several gigs at Belleville’s Meyer’s Pier and opened this year’s Downtown Belleville Blues Festival.
Beyond his work with the trio, Smith continues to focus on writing new material. “It’s sometimes tough to find time to write,” he admits, “but it’s something
I always come back to.” Family life also keeps him grounded. Raising his nineyear-old son, James, brings him deep joy and inspiration. “I really enjoy the benefit that fatherhood contributes to my creative processes and output,” he says.
Looking ahead, Smith hopes to secure funding for a new recording and to refine his image as both a technically skilled musician and a creative artist. Over the years, he has collaborated with some of Canada’s finest musicians, including Harry Manx, Steve Marriner, Ken Hamm, and the East Indian fusion group Galitcha. “I hope to continue to be invited to work alongside these wonderful Canadian musicians,” says Smith.
Whether he’s recording in the studio, performing on stage, or simply jamming at home, music is woven into every part of Matt Smith’s life—and it’s a joy to watch him work.
Matt Smith
Bob House Photography Music
Emerging Artist, Old Soul
By Greg Ceci Warkworth
Jonah McLean was
born in Warkworth, Ontario, and still calls it home today—but that hasn’t always been the case. Like many young boys, he threw himself into sports, eventually moving to Texas at fifteen to pursue a golfing career. He finished high school in Florida, then earned a golf scholarship at the University of North Carolina. But disenchanted with the game, he left university early, drawn back to his roots. It turns out, home is where the music is—and always was.
His journey began on a drum kit at around seven years old. His Dad's taste in classic rock fuelled his new passion as he jammed along with Bad Company, Led Zeppelin, CCR, Fleetwood Mac, The Band and The Beatles. By ten, music took a back seat to sports. “I didn’t pick up a guitar until I was seventeen and got a quick lesson from a dear friend of mine, Jeremy Early. I was pretty busy
with golf at this point so I used to just pick up the guitar for ten to fifteen minutes a day.”
Music’s pull eventually proved irresistible. At twenty-three he took vocal lessons, leading to his first live performance at a community fundraiser for the Arts and Heritage Foundation. It was a life-changing moment. “The first song I wrote that was actually good ended up getting me an Ontario Arts Council grant. The 2022 song is called Beautiful and Ordinary. I always sort of tip my cap to that song because it led me down the songwriting path.”
Now fully immersed in music, McLean explores themes of passion, pain and pleasure for the hopeless romantic while drawing from his vintage roots and mixing in a dash of modern sensibilities. All you can ask of a new artist is to be authentic and pour their entire being into their art. His emotionally charged
voice, rich with tone and control, anchors his authenticity.
Songwriting, he says, is like swimming in the deep end. Ideas are shooting stars: fleeting, but powerful if caught. “Sometimes it can be a couple days where I go as far as I can, then come back to it. When I do this, it feels fresh again.”
A self-taught producer, McLean is meticulous about sound and vibe. With soulful folk songs, described as having a vintage feel reminiscent of the 1960s and 70s - still, humility grounds him. “If it lacks feeling, there’s not much there. I think we all go through different periods of art, but it’s important to keep pushing forward and take risks.”
He's primarily playing solo gigs but does include a stand up acoustic bass player for some shows with hopes to eventually incorporate a full band complete with pedal steel and violin or fiddle. His goal
is simple: keep growing, keep performing, and see where the music leads. Surrounded by supportive family and mentors, he leans on their advice while staying true to his vision.
The landscape for musicians has greatly changed over the past few decades with promotion, marketing and image cultivation becoming important factors but Mclean is old school and still believes that honest, authentic music should always be first. “I wish music was all about the music. I get it with the whole marketing thing and that you have to adapt to the current times - but it’s the art that really keeps me attached to it.”
Having released his first EP and writing new material, McLean reflects, “I’m proud of myself for growing and continuing to make progress. I was never really sure what I wanted, but stepping out on my own has helped me figure it out. I mean, I still don’t know exactly what I’m doing most of the time but I’m a heck of a lot closer to it.”
Remember, your next favourite artist lives right in your own backyard and it will always be hip, vogue and in fashion to support local artists and live music.
jonahmclean.ca
Photography by John Halley
By Scott Williams
Susan
Moshynski's
creative has spanned many roles: artist, designer, illustrator, and even an ongoing, if occasional, gig as a political cartoonist—long before “side hustle” became part of everyday vocabulary. But it is in her role as a fine artist, a painter, that she has found her passion and her greatest success.
Moshynski says she “came by it all honestly,” learning to paint from her father, a full-time sign painter and part-time artist. After beginning his career with Bata Shoes, he realized he could work independently and support his family solely with his artistic skill. “He was a master of drawing,” she recalls, “an absolute master.
Her own abilities developed further through a Fine Arts degree at York University, followed by a career in design and illustration in the ad industry. While that work satisfied her creative urges to a degree, she always felt something was missing. “I wanted to paint,” she says. “I wanted to get my hands right in it—you know, be messy!” In 1991, she returned
Prince Edward County
to Rednersville Rd. and began painting in earnest.
Moshynski describes her creative journey as providing “solid bones” for her work—from the fundamentals of drawing and painting learned from her father to the sense of form and balance shaped by her design work. Onto that foundation, she has built a vibrant and varied body of work that dances between realism and abstraction. A gallery curator once described her style as “realism with a twist,” and Moshynski immediately recognized its accuracy. “That phrase said almost exactly what I’m doing.”
The “twist,” which she calls “the magic,” is evident throughout her art. Bucolic landscapes burst with splashes of unexpected colour; quiet scenes are animated by movement and light. Her palette stretches from the earthy tones of Rembrandt to fluorescent brights, sometimes accented with sparkles, mixed
media, or even gold leaf. “When the sun hits it at a certain angle it just glows,” she says. Whether rainforest parrots or Catalonian street scenes, her bold lines and colourful brushstrokes—what she calls her “signature slashes”—make her work instantly recognizable. “It’s not just a mass of colour. There’s something happening to you.”
Her wide-ranging style can be a challenge for gallery curators to position, yet she has enjoyed significant success in exhibitions and sales. Even so, she finds her greatest connection with viewers through her own studio, where visitors can encounter the full breadth of her work. She has been part of the Rednersville Rd. Studio Tour since its inception, taking only a brief sabbatical to focus on the Prince Edward County Studio Tour, and looks forward to returning.
For Moshynski, all of life holds an element of magic. That same magic in -
fuses her paintings, which can be experienced at her By The Bay studio on Rednersville Rd., open year-round by appointment or chance.
bythebay.squarespace.com QAC Profile
Alternative photography and art
By Scott Williams
Herb Deary: Opening Doors Through the Lens
Scene: “A stark area. A bit of ice on the ground. And there’s a shopping cart.”
Manipulation: “Took away some of the colouring. Made it feel colder.”
Subject: Homelessness.
Herb Deary, the creative force behind Belleville’s Bonehedz Studios, isn’t afraid of difficult subjects—in fact, he embraces them. “Conversations that people are uncomfortable with.”
Why? “Because real life includes a lot of things. Life isn’t just trees and sailboats.”
And homelessness in particular? “Because for a lot of people it’s one of those conversations that’s ‘out of sight, out of mind’. Sometimes you’ve got to be reminded.”
And the point of the manipulation? “Because every picture is part of a bigger story. There’s so much more than just the picture.”
Deary learned the basics of photography as a kid during the analog days of 35mm film and began his photographic career in a conventional way. “That’s what photography really was,” he says. “You’re at the weddings taking pictures, or birthday parties, or taking headshots.” Though he picked up valuable lessons, he found the work a bit mundane. Then came the shift: “When digital came along it was a whole new age.”
Today, Deary describes himself as a visual opportunist. “I can envision something and I’ll take the opportunity to create it and present it. I’ve always seen things through a different eye than most people: I’ll catch something that people see, but maybe don’t see in its full form.”
His purpose is clear: to spark conversations and make us think. He leans into challenging topics—homelessness, mental health, and sexuality. “That’s a big thing in our modern age. Sexuality has become political. To a point where some people, if they’re in a minority, they can be in a situation that’s detrimental to them. There’s a lot of bigotry, a lot of hatred in the world right now. A lot.”
Deary’s work around gender and sexuality, while sometimes exploring the fringes, also shines light on what we might consider more mainstream—and
Belleville
in doing so, raises provocative questions. “You know the usual wedding picture? That husband and wife… what if, when they go home, they’re wearing panda suits?”
It’s an image that makes us wonder: in that scenario, what are the real costumes—the panda suits, or the fancy clothes worn for the wedding? In a cultural moment where expressing one’s “authentic self” has become a mantra, Deary pushes further, challenging us to ask what our authentic self really is. Will the real you please stand up?
He knows these conversations aren’t easy. In one photograph, Can you hear me now?, a model screams into a phone in anger and frustration, trying to be heard above the static. The piece is an apt metaphor for Deary’s artistic vision. As he insists, “art shouldn’t be comfortable.” Yet many of us would prefer the safety of our comfort zones. His work must be edgy, even unsettling—must scream at us metaphorically—to force us to confront difficult truths.
We are accustomed, even in art, to being guided—to see the world through the artist’s lens in a particular light. Deary flips that script. He is not interested in imposing his view. Instead, he wants to open doors. “I don’t try to put my view into their head. I just open up the door.”
And that may be the greatest challenge—and gift—of Deary’s work. We are not asked to agree or even to see the world his way. We are invited to ask the essential questions he raises, to face the realities he highlights, and to wrestle with them ourselves—without guideposts, only provocations.
Fine Arts
From Tweed to TV Screens Everywhere
By Janet Jarrell
If you feel like you've been seeing Tricia Black everywhere lately—you’re not wrong. Whether it’s popping up in TD or Walmart commercials, stealing a scene on TV, or making magic onstage, Black has become one of those instantly recognizable Canadian talents you can’t help but cheer for.
One of our favourite moments? Their cameo on the hit show Ghosts. As Channelle, Black brought just the right mix of charm and quirk that made us grin long after the episode ended. But that’s just one stop on a growing list of appearances: you may have also spotted them in Pretty Hard Cases, Kim’s Convenience,
It’s a well-deserved recognition for someone who’s been building a career with equal parts hustle, humour, and heart.
What makes Black’s success even sweeter is their strong connection to
our region. As part of Tweed & Company Theatre, Black has helped create and perform in original Canadian musicals that celebrate local voices and stories. That community spirit and dedication to live performance is still at the heart of their work, even as their star continues to rise on screen. “Growing up in and around small towns, I felt right at home in Tweed and it has taught me so much about community and about how important telling local and Canadian stories are. They can resonate far beyond a small town because they are stories of human connection, struggle and joy.”
This past June, Black took home a Canadian Screen Award from the Academy of
Baroness von Sketch Show, What We Do in the Shadows, or even the film The Broken Hearts Gallery
Tweed
Kristina Ruddick Photography
PrettyHardCases, Cameron Pictures
George Pimentel
Canadian Cinema & Television for Best Supporting Performance in a Web Program or Series—a huge win that shines a spotlight on their breakout role in Stories from My Gay Grandparents. It’s a well-deserved recognition for someone who’s been building a career with equal parts hustle, humour, and heart. “It’s surreal. To be recognized for a project that means so much personally—to my identity, to queer joy—it’s something I’ll cherish forever. And from my peers no less, who are all hustling and working hard to bring their stories to life is a true honour!
It was a truly magical experience, the entire cast and crew, which is predominantly Canadian, were so wonderful to work
with, and that big set was made to feel like a small town so I felt right at home,” they laugh.
Looking ahead, fans won’t have to wait long for the next big thing. Black appears in the upcoming Netflix mini-series Wayward (launching September 25), sharing the screen with big names like Mae Martin and Toni Collette. It’s another exciting step for an artist who’s never stopped stretching their creative muscles. “Go watch all Canadian content from film to tv to the stage to music! Watch it, stream it, see it live!! Support homegrown talent!”
itstriciablack.com
Cyd Connell
Film
Katherine Folger Photography
Animated Aesthetic: Bridging Disciplines
M arc Beurteaux is an artist who lives, works, and creates in Hastings County. His current online presence features his work in animation and film, but he’s starting to become known for his sculptures, in addition to his earlier work.
Marc and his partner traded the hustle and bustle of city life in Toronto 15 years ago for the quiet of the country. They moved to an 80-acre farm North of Marmora, which had woodland and several outbuildings to explore. The landscape he calls home informs his work
By Allison Nichol Longtin
as an artist, “It’s a huge supermarket of stuff…I wanted to live in nature, just to see what it was like. It definitely watered down my ego…this is what the world really is: nature. It broadened my horizons and my outlook.” It also provided the source material for his sculptures.
“The farm had a lot of junk…when I see anything, I see the potential for it to be art,” says Marc of how his new home provided inspiration for his more recent foray into sculpture. “It’s like it was meant to be - I just started making stuff.” Many of the materials Marc uses in his sculptures are found objects that
There’s a clear signature at play, with film and animation informing and inspiring sculptures and vice versa.
Marmora
he sources from around his property, including old and rusted bits of scrap metal, as well as salvaged cleaning, cooking, and farming tools. Through his sculpting of discarded materials, Marc gives objects new life, “I see anything, I look at anything and I think, that could be useful.”
There is a tipping point, though, when the amount of materials salvaged can become more overwhelming than inspiring. Marc recently did a purge of his studio because he’d been adding to the pile of materials over several years and found that he’d stopped working
for a while; he felt bogged down. He remembers his earlier days working in film when he didn’t have many materials, “It felt like I was more imaginative. It’s almost like the less you have, the more [room] you have to think. When I have too much stuff…it gets to be too much. I’ve done a great purge, and I feel like a new man.”
Marc’s raw, unvarnished, industrial aesthetic translates across mediums. There’s a common language that extends from his work in film and animation toward his sculptures. There’s a clear signature at play, with film and
animation informing and inspiring sculptures and vice versa. When he sculpts something new and he likes it, he thinks, ‘wow, that would be so cool animated.’ “That’s why I like making my own short films - you also get to build the props, characters, backgrounds… that’s what led me to doing more sculpture, because I loved doing the set decoration so much, that it was natural for me to start sculpting.”
Marc’s creative roots are in film and animation. Last year he made a short film for the Small Town Shorts Film Festival. The film was screened in Campbell-
ford. Marmora & Lake Public Library and Trent Hills Public Library created a collaborative event for their communities to highlight the deep well of creative talent in small towns. “There are way more filmmakers in this area than you think,” says Marc.
In a post on Canadian Animation Blog, Marc spoke about his inspiration to create animated films, “It was the realization that you could create worlds within your own animated films. It's incredibly addictive to see what comes out of your imagination.” For Marc, it’s much the same with his sculptures, “With sculpture, it’s almost more fun in a way, because it’s a bit more instantaneous.
You just get a couple pieces and then suddenly they fit together and there it is. There’s the face. There’s the sculpture. Just the joy of watching pieces come together and form something. It’s just totally addictive. I’ll never get sick of that.”
Of art-making and creative work, it’s said that you should find and do the thing that makes you lose all sense of time. Many of us can relate to this singular experience, “When you’re animating, time means nothing…same with sculpture…I could be working for hours and hear the dog bark and then [think], ‘oh yeah, I should have fed them an hour ago’…time bends and stretches and just becomes a new reality. Mostly time flies.”
And if making animated films and sculptures isn’t enough, Marc is trying his hand at writing, with the ultimate goal of writing a book. “Writing’s hard, though. It’s harder than sculpting. I’d like to delve into that a bit more…I’m always doing stuff…Hopefully I always will [be].”
While his sculptures don’t have an online presence yet, you can learn more about Marc’s work as a filmmaker and an animator, as well as see his films here. Keep an eye out for a website coming soon.
Marc Beurteaux
QAC Profile
Echoes of the Bay: The Podcasts
By Janet Jarrell
Over the past five
years, Sean Scally has quietly built a legacy in podcasting, producing three very different series that continue to find listeners online. Each project reflects his deep curiosity, his love of research, and his instinct for personal storytelling.
Scally began with StrangeStoriesofthe Bay of Quinte, a series of 11 episodes that unearth the folklore, oddities, and
hidden tales of our own region. “While researching many of the local history documentaries I have made, I kept coming across short anecdotal stories and folktales that were too short or too difficult to film for a video, but were nonetheless really interesting. So the podcast seemed like a good option,” he explains. The result was a selection of eerie tales and overlooked histories, offering listeners a glimpse into our historical past.
He notes that author Susanna Moodie, Belleville’s own literary figure, once attended a séance and later hosted a few at the Moodie cottage.
Belleville
One particularly memorable episode explored the famous Fox Sisters, whose séances in the mid-19th century sparked the global Spiritualist movement. Scally recalls, “I came across the story of the Fox Sisters during my research on a film about the Murray Canal and Carrying Place. It is fascinating when you dig around in this region’s past—you come to realize that over the course of history many people have come from here and gone on to make and participate in some of the greatest stories of North American lore. Some went on to become famous and others infamous, the Fox Sisters included.” He notes that author Susanna Moodie, Belleville’s own literary figure, once attended a séance and later hosted a few at the Moodie cottage. For Scally, the story resonates far beyond Quinte: “The Spiritualist movement was huge in its time and still resonates today … all derived from the mind of mischievous bored young girls from Consecon.”
His second project, Dead Wax 78’s, reveals another side of his passions: early music and the charm of gramophones.
“This all came about through my love of old-time music and the preservation of old 78 records and my hobby of repairing and tuning old wind-up gramophones and phonographs, mostly saving them from the landfill and bringing them back to life,” he says. The series—three seasons, about 20 episodes each—celebrates not only the crackle and hiss of vintage records but also the history of a revolutionary invention. “It made me feel like sharing all the lost knowledge on the mechanics and development of one of the world’s most influential pieces of technology—the flat disc record—and also the music and musicians of the past,” says Scally.
Perhaps his boldest leap was ConfessionsofaHangman. Here, Scally adopted the persona of Ratcliff, Canada’s first licensed executioner, to tell the stories behind the country’s executions since Confederation. “This was a COVID-era project that I made using a pseudonym, which allowed me to do a little acting by altering my voice to portray the character,” he recalls. The series spans 40
episodes and balances historical detail with haunting narrative. “Again the long-forgotten stories of some of the most notorious crimes in Canada were very interesting, although a little creepy. Many times I was able to find write-ups and stories written about these crimes online, put together by ordinary people who themselves are preserving the stories of their own small regions.”
What unites all three series is Scally’s belief in the power of story to preserve, provoke, and connect. Whether through the folklore of the Bay, the music of forgotten artists, or the voices of history’s darkest chapters, he approaches each project with respect for the material and empathy for his audience.
Today, though the series have concluded, they remain online—a testament to one man’s dedication to bringing the past to life. In every episode, Sean Scally reminds us that stories are not just entertainment; they are echoes, waiting to be heard.
Strange Stories of the Bay of Quinte
Adam Gray
Edith Cavell: Hero of Nursing
By Richard Hughes
As the 19th century
gave way to the 20th, the tightly circumscribed roles of women—so long dictated by Victorian ideas of morality and conduct—began to expand. Women entered fields previously closed to them, often with extraordinary results. Marie Curie’s groundbreaking research into radioactivity earned her two Nobel Prizes; Emmeline Pankhurst endured imprisonment as she fought for women’s voting rights; Amelia Earhart flew solo across both the Atlantic and Pacific; Florence Nightingale transformed nursing into a true profession.
Among these remarkable women, though perhaps less well known today, stands Edith Cavell—no less a figure of strength, courage, and compassion.
Born in Norfolk, England, in 1865, Cavell was the daughter of an Anglican minister. Skilled in French, she worked as a nanny in Brussels before returning to England in 1895 to care for her ailing father. That experience revealed her true vocation. After training at London Hospital,
she worked in hospitals serving the poor and destitute, then returned to Brussels in 1907 to work with a doctor who pioneered the training of professional nurses, to replace the well-intentioned and compassionate nuns who had no specific medical training. There she flourished, training nurses for hospitals and schools while lecturing to both doctors and nurses.
While back in England for a visit, war broke out and Germany invaded Bel-
Belleville
gium. Seeing the suffering in Brussels, Cavell felt her presence was more needed than ever. She returned to a Red Cross hospital where German soldiers and Belgians received the same attention. Then Brussels fell and the Germans commandeered the Royal Palace for treatment of their own wounded; the English nurses were sent home; however, Cavell and her assistant felt obligated to remain.
In 1914, two British soldiers stranded behind enemy-lines found their way to Cavell’s nurse training school and were provided shelter, at great risk to the nurses. Others followed. Ultimately, an underground system was established by the Belgian resistance to aid the soldiers to escape to the neutral Netherlands. They all knew, if discovered, they would be shot for aiding allied soldiers; however, Cavell saw this
as an extension of nursing, a humanitarian service, despite the danger and certainty of death if discovered.
Edith Cavell has been honoured by numerous statues and memorials across Britain but also in Brussels, Paris and several Commonwealth countries.
After aiding some 200 soldiers, the network was betrayed. Cavell was arrested, confessed to her role, and sentenced to death. Despite international pleas for clemency, she was executed by firing squad in 1915.
Edith Cavell had risked her life and ultimately gave it to save the lives of others. There was an immediate and forceful outcry from the allied countries. In Britain, enlistments surged; on the front lines, soldiers fought with renewed determination. Neutral countries condemned the brutality of her execution, a reaction that helped shift the United States toward joining the war.
After the war, Cavell’s remains were returned to England, escorted with solemn ceremony to Westminster Abbey for a funeral service and then carried by
special train to her family home for a final service and burial.
Edith Cavell has been honoured by numerous statues and memorials across Britain but also in Brussels, Paris and several Commonwealth countries. Cavell is also memorialized in many biographies and films. In Canada, the highest mountain in Alberta, within Jasper National Park, was named Mount Edith Cavell. Closer to home, the Belleville General Hospital from 1968 to 1974 trained nurses at the Edith Cavell Regional School of Nursing.
Edith Cavell personified selfless devotion, compassion and fearlessness both as a nurse and humanitarian. She remains a model and inspiration for all who serve their community in nursing and the many aspects of caring for those in need.
Celebrating Deaf culture
By Janet Jarrell
Hands in Commem-
oration is a landmark festival recognizing our local Deaf culture and the deep significance of the Sir James Whitney School for the Deaf (SJW) in Belleville.
Founded in 1870 as the Ontario Institution for the Education of the Deaf and Dumb, Sir James Whitney School is Canada’s oldest and largest school for the Deaf. For more than 150 years, it has been a cultural and educational cornerstone, nurturing generations of
Deaf students and shaping the city’s fabric. Today, the school continues to stand as a proud symbol of identity, heritage, and community.
At the heart of this celebration is an exhibition of De’VIA (Deaf View/Image Art). These works affirm Deaf identity, share lived stories, and celebrate American Sign Language (ASL) as both a language and a vibrant cultural expression. Visitors encounter powerful artworks such as Bi-Languages in Our Life by Vika Rudenko, with each piece
accompanied by a QR code linking to the artist’s statement in ASL with voiceover and captions—ensuring accessibility and deeper connection for all audiences.
This initiative also honours the leadership of Janice Drake, Chair of the OSD/ SJW Alumni Association, and Deaf artist and accessibility advocate Leah Riddell who designed a concept spelling out “Belleville” in ASL handshapes. A temporary version has already been shared with the community, while
plans continue for a permanent metal and plexiglass installation at Zwick’s Island Park.
Riddell says, “For generations, Deaf people in Belleville have carried stories of resilience, identity, and culture that often went unseen. Hands in Commemoration is our way of making that visible; through art, through language, and soon, through a permanent ASL sign in the heart of the city. It’s a celebration of who we are, and an invitation for the community to celebrate with us.”
A powerful dimension of this celebration is the storytelling of filmmaker Alvin Witcher, founder of PAH Media. Witcher, who is Deaf, is dedicated to sharing authentic stories from within the Deaf community. As he explains: “Something was missing in the Deaf community –there was a lack of sharing information, specifically about Deaf people, our stories and experiences. It was time I rolled up my sleeves and returned to my original passion: making documentaries to share Deaf stories.”
Hands in Commemoration is more than an exhibition—it is a celebration of resilience, identity, and the cultural legacy of our Deaf community. It shines a light on the stories, language, and contributions that make Belleville’s Deaf heritage so vital. This is not just a recognition of the past, but an ongoing invitation for everyone to learn, connect, and join in celebrating an extraordinary chapter of our community’s story.
Belleville HIC HIC De'VIA
Moira Malik, Dontneedhearingaids
Donna Fano, GlimpsesintoaDeafPerson'sWorld
Vika Rudenko,
Judith Greaves,
John O'Malley, Camping
Birdhouse City
By Allison Nichol Longtin
Venture uphill from
Picton’s downtown toward Macaulay Mountain Conservation Area and you’ll find yourself in a whimsical world of colourful birdhouses perched high atop platforms. You’ve arrived at Birdhouse City, a favourite spot for birders, hikers, and locals alike, nestled in the heart of Prince Edward County.
Entirely volunteer-run, Birdhouse City has been a labour of local love since the first birdhouses went up in 1980. The late Doug Harns, former superintendent with Quinte Conservation and a gifted woodworker, conceived of the idea for Birdhouse City. It began with a giant birdhouse replica of the historic Massasauga Park Hotel.
Today, Birdhouse City is cared for by a small but mighty team. Volunteer administrator Alan Hurst works alongside nine core volunteers and about 30 builders to maintain the collection of roughly 100 birdhouses, with much of the
focus on refurbishments. Hurst and his partner moved to Picton full-time in 2020. When they and their neighbours noticed Birdhouse City falling into disrepair, they rolled up their sleeves, forming an ad-hoc committee and rallying volunteers. With support from a local councillor, the County, and Quinte Conservation (which owns the land), the revitalization effort took flight.
The handcrafted miniatures—many of them remarkably accurate replicas of historic buildings and landmarks from Prince Edward and Hastings counties—serve both flora and fauna. They provide refuge for birds, delight visitors, and contribute to a thriving ecosystem. Quinte Conservation carefully balances the needs of people, plants, and wildlife, clearing paths for
Picton
"Massassauga Park Hotel", originally built by BHC founder Doug Harnes
visitors to admire the birdhouses while leaving grasses and plant life to sustain the environment. “I can’t say enough about how supportive Quinte Conservation has been—they’re very, very interested in what we’re doing…They love it,” says Hurst.
Over the past 40 years, Birdhouse City has become a community treasure,
inspiring residents and visitors while also attracting media attention. In 2020, Canada’s Amazing Race filmed a challenge at the site. “It really validated the work we put into it,” says Hurst. Local artist Carl Wiens has also celebrated the landmark through a series of graphic illustrations featuring several of the birdhouses.
With so many incredible birdhouses to choose from, he is spoiled for choice when it comes to selecting his favourite, but the Point Petre Lighthouse, made by Hurst’s partner and his Dad, is nearest and dearest to his heart.
If you’re interested in lending your social media skills to the initiative, Hurst and his fellow volunteers would love to hear from you.
Birdhouse City
Illustrations & cover photo by Carl Weins
Crafts
Builder Builder Colin Milroy
Builder John Poneta
Built byJennifer Adamson
Restoration by Bill Edmunds
Restoration by Don & Dianne Leask
Parkinson’s Dance at QBSC
By Jennifer Shea
The idea of a dance
program for individuals with Parkinson’s Disease originated at the Mark Morris Dance Center in New York in 2001 with the first class attended by six members of the Brooklyn Parkinson Group. The original idea took off and now, 24 years later, Parkinson’s Dance programs can be found in more than 300 communities in 28 countries around the world. One of those communities is Belleville, where Parkinson’s Dance is offered for one hour weekly from September to June at the Quinte Ballet School of Canada (QBSC).
Parkinson's Disease is a movement disorder of the nervous system that worsens over time. Symptoms can include tremor, slowed movement, rigid muscles, poor posture and balance, loss of automatic movements like blinking, speech changes, writing changes, and non-motor symptoms like depression, anxiety, and sleep problems. Symptoms vary from person to person and are often slow to progress. Unfortunately, there is no cure.
Parkinson’s Dance is led by teaching artists who integrate movement from a diverse variety of dance and movement styles. The classes are dance-focused,
not exercise or fitness-focused. The emphasis is on aesthetics and imagination, encouraging dancers to move with grace, invoke creativity and emotion, and develop their mind-body connection. During class, dancers stretch and strengthen their muscles while creating flexibility and range of motion. As range of motion increases, so does balance and gait.
Program coordinator and instructor with the QBSC Kristina McIntosh says, “It’s the closest thing to magic you can experience. You can watch dancers come in maybe a little bit down. An hour later,
you see the cloud lift and you watch a different individual leave the space.”
“Dancers have told me they feel different, or they just believe and know they can do it - whatever "it" is. Some say they feel steadier, more balanced. Others comment that they stand prouder with more confidence.”
Jocelyn LoSole, another instructor for the program, adds, “The joy of dancing comes from within, and often that motivation pushes them to do things they had totally let go of.”
Belleville
“Dancers are seated at the beginning. They stand and hold onto the chairs in front of them to have extra support. When they step away from the chairs, there’s the option to free dance away from the chair to challenge themselves without support. I have noticed at the end of almost every class that I’ve taught – their gait was a lot steadier, and they were able to take wider steps.”
Financial support from the City of Belleville allowed the local program to start as a pilot in 2017. Additional support from the city, Parkinson’s Canada, and private donors, has kept the program going. The funding allows the program to be offered free of charge to individuals with Parkinson’s Disease and their caregivers. It’s not unusual to see up to 50 people in a class, including volunteers.
Volunteers are instrumental in the program’s success. They help with set up and clean up, as well as assisting dancers as they come and go. They help monitor class participants to allow the instructors to focus on lessons.
The dance class participants have become a small community. They share stories and their own personal jour-
neys with Parkinson’s which helps their neighbour(s). And the caregivers can also lean on each other for support as their loved ones take part in the classes.
The year’s program is divided into two terms with a break in December for Christmas holidays. Each term concludes with a potluck meal - one in December and one in June. It’s a time to sit,
talk and share in the community that has been created.
“I love this program and these dancers with my whole being”, says Kristina. “They have taught me so much about myself and life. I honestly feel they have taught me more than I have taught them.”
quinteballetschool.com/workshops
Community Theatre in a Barn
By Jennifer Shea
Since 2002, Brighton
area residents and visitors have been treated to high quality community theatre in a refurbished historical barn in Proctor Park (home of the Proctor House Museum). Brighton Barn Theatre offers award-winning acting and directing in an informal setting, with all the amenities needed to make the experience comfortable and memorable.
The 1880s-era barn was moved from the farm of Rene and Jerry Simpson at the west end of the original Town of
Brighton to its present site in 1999. With community fundraising and volunteer support, reconstruction began in 2000 and the building was ready for use in July, 2001. Further additions and modifications were completed in 2003.
The theatre has a maximum seating of 125 and all patrons enjoy a close, unobstructed view of the stage. The post-and-beam construction, soaring ceiling and warm wooden interior provide a cozy setting to enjoy the productions. The barn is heated, air-conditioned, and it is wheelchair accessible.
Anna Rittwage is President of the Proctor House Museum and Brighton Barn Theatre, and she has been involved with the Theatre project since Day 1. She recalls participating in ghost walks on the streets of Brighton as a fundraiser for the museum. “We had 30-some people come out every Tuesday night and play parts in that ghost walk. Once we saw the crowds that came out for the walks and the actors that came out, you could see that we needed live theatre in Brighton. These people had all of these talents and no outlet.”
High quality acting talent has been consistently available for the Brighton Barn Theatre productions from the get-go. The actors are among the many volunteers who also perform various support roles including set production, lighting, sound, building repairs, and more. “I’m most proud of the people who take ownership of the theatre,” says Rittwage. “They will do anything that’s within their means to keep it going and to encourage other volunteers to come out. The work they do is just astounding.”
Brighton
Brighton Barn Theatre typically offers two productions per year, one in the spring and another in the late summer/ fall. Frequently, the selected play is a comedy and has been written by a Canadian playwright. “We have found out that people like to laugh; they like to leave laughing,” says Rittwage. “We do a lot of Canadian plays (Norm Foster, Pe ter Colley, etc.). Sometimes, we’ll take on an American comedy. People really enjoy the comedy.”
These productions draw large crowds from beyond the Brighton region. The first 2025 production (Norm Foster’s Jenny’s House of Joy) had 1,000 tickets available for the three weekends it ran and 967 tickets of those tickets were sold. Show proceeds go to the Save Our Heritage Organization (SOHO), a charitable organization dedicated to re storing and maintaining Proctor House Museum. SOHO funds also support the continuing operation of the theatre.
The Brighton Barn Theatre community lost one of its long-time volunteer lead ers in May after a lengthy illness. Art Middleton had been President of the
Theatre for many years. He also produced plays and provided his expertise as technical director, lighting designer and operator, and set designer.
Despite his illness, Middleton last designed the set and lighting for Brighton Barn Theatre’s first 2025 production that ran from April to May of this year.
As a testament to the quality of productions offered by Brighton Barn Theatre, the organization occasionally participates in the Eastern Ontario Drama League One-Act Play Festival and has garnered numerous “best of” nominations. The Theatre was awarded best individual female performance for Kathy Lacasse as Mrs. Peters in Trifles
Catch them if you can
By Peter Paylor
Trust is a word that keeps coming up when the Improvmonauts sit down to talk about what they do. And, yes, the five frenetic members of Belleville 's homegrown improv comedy troupe do on occasion sit down.
“The five of us are also friends, and that helps,” says Matthew Sheahan, who along with Mihal Zada, Darren Moore, Alexandra Bell, and Nathan Mahaffy, make up the Improvmonauts. “You don’t have to be friends with the people you do comedy with, but you have to trust each other. If you don’t trust each other then you can’t do it. I feel that all of us trust each other enough that we can voice opinions or try something different…we’re going to try stuff together and figure that out together. I’ve always felt at home with these people.”
“Especially early on,” says Bell. “You have those doubts. Is it going to work? Are people going to enjoy what you’re putting out there? Because you’re offering a piece of yourself when you’re doing improv to an audience. There’s that piece of yourself that you’re letting go to be received and there’s always that fear that it’s not going to be taken well, but then one thing I think we would all agree is that improv works best when you have that trust in the team that’s around you. It helps to alleviate those doubts and allows you to reach those places where you let yourself go and just enjoy the moment that you’re in. It’s so freeing to be able to just kind of go to those weird places in your mind, explore some things that you might not in another format under the guise of comedy.”
The five, who have been doing improv together since 2018, all share a background in traditional scripted theatre. “The more improv I do, the more I realize I’m acting,” says Moore. “When I first started doing this, I tried to be me on stage, and it didn’t work. And so, I’ve created an improv character so when I get on stage, I’m that open, goofy…I’m the Golden Retriever Darren. That’s me on stage. That character can do things that I can’t.”
“All of our experience in traditional stage theatre,” says Bell, “things like knowing your voice, the direction to face out when you’re speaking, blocking, staging, things like that…we’re all very conscious of our space with each other and our presence and how that’s being delivered out to the audience, and I do think that comes from all of us having experience in the traditional theatre.”
Belleville
While what they do is unscripted, writing is still at the heart of it. “All of us are writers in our own right,” says Sheahan. “Writing for a living, writing songs, writing poetry, writing plays, writing whatever—we’ve all written. All that structuring you do when you’re writing something, it’s in your brain, so when you’re doing improv, you’re just doing it on the fly.”
“Theatre is very much a collaborative art form,” says Zada. “One of the things I love most about improv, especially with these guys, is that I can see stories coming to life in a way that when I’m sitting down and trying to write them out, it doesn’t work. It doesn’t process the same way.”
Music plays an integral part in what makes the Improvmonauts unique. Bell and Mahaffy are both experienced professional musicians. As the troupe’s musical director, Mahaffy earns high praise from his colleagues. “I love musical improv,” says Sheahan. “If it’s done well, it’s magical for the audience. I feel we’ve gotten to the point where, when we do musical comedy, it’s magical.” Their audiences seem to agree.
Another integral part of their comedy is the City of Belleville. “Belleville’s a character,” says Moore. “Right? And it’s a pretty funny character. There’s a lot of character and spirit in this town, one way or the other and it’s just a well to draw on.”
“We get it, and our audience gets it, and we have something special that
connects us right from the start,” says Bell. “When we’re making jokes about Hawkins Cheezies or the Moira River or the Wally Deaver…as much as it might be framed as a joke, it’s coming from a place of love for the place that we all get to live and create in.”
“There’s more happening here creatively than it deserves in a sense— for where we are and what it is—and it’s like I want to be in that,” says
Moore. “I want to be in that thing. I want to be in that group that is doing that thing that is better than expected. And I think we do that.”
The Improvmonauts appear regularly in venues throughout the Quinte region. Catch them if you can. You’ll have a good time. Tell them I sent you.
Improvmonauts
Whenit comes to
school art programs in the Quinte area, the offerings at Eastside Secondary School (ESS) are top-notch. From choir to concert band, musical theatre to improv, ceramics to pottery, ESS has it all.
“There are so many options for students,” says David Reed, ESS music teacher and art director. “Art classes start in grade nine and run all the way through to grade twelve. We offer challenging and unique opportunities for our students, and it’s their energy and our talented staff that really make this program shine.”
Art at Eastside
By Greg Teal Belleville
The Eastside Arts Council is a group of dedicated students from all artistic disciplines who organize events such as coffee houses and art shows throughout the year to promote creativity and collaboration. In addition, ESS has an Art Club, where students identify creative needs within the school—like murals, posters, and décor—and work together to design and produce art to fill those spaces. Open to students of all grades and abilities, no experience is required.
For those bitten by the acting bug, ESS offers a Musical Theatre Production.
It’s also a valuable opportunity for students seeking professional art experience, as their work is showcased in public venues such as the Annual Student Art Exhibition at the John M. Parrott Gallery.
Musically, ESS offers several programs for students. The Eastside Concert Band, which includes students from grades nine through twelve, performs at the Winter and Spring Arts Nights and other community events. They rehearse weekly, with additional sectional practices. The newly formed Eastside Choir meets
twice a week and performs at school functions. “Depending on student interest, another goal is to participate in the Belleville Rotary Music Festival,” says Reed. There’s also a robust Guitar Program, made up of four classes and over 100 students, equipped with a full set of professional-grade guitars.
For students drawn to tactile expression, the ESS Ceramics Program offers five classes this year, involving roughly 125 students. Participants organize two to four public markets annually, along with in-school markets at ESS events. With the addition of a new pottery
wheel and kiln, students now learn both hand-building and wheel-throwing techniques to create a variety of pieces.
ESS also boasts an impressive record in performance arts. The Eastside Improv Team competes in the Canadian Improv Games tournaments. “We have won our Regional Tournament and advanced to Nationals the past two years. In the spring of 2025, we qualified for the National Finals and our team is currently ranked 4th in the country,” says Reed.
For those bitten by the acting bug, ESS offers a Musical Theatre Production, a two-credit course that runs in the second semester. Students participate in every aspect of a full-scale musical— from acting, dance, and vocals to costuming and publicity. The production hits the stage in late May. Past shows have included The Wizard of Oz and Clue. At Eastside Secondary School, creativity isn’t just encouraged—it’s built into the culture. Whether through performance, music, or the visual arts, students are given every opportunity to discover and develop their artistic voice.
Eastside Secondary Art Program Arts at Eastside
Joanne flowers &
femininity
Joanne Kells femininity
Quinte
Flowers & Femininity
By QAC Team Napanee
Art provides the perfect outlet
when life feels overwhelming, says Joanne Kells Chalmers— better known in the art world as Kells. An award-winning Greater Napanee artist, Kells finds that painting offers her a bolder voice, a way to share what’s on her mind with honesty and vibrancy.
Her latest exhibition this fall at the QAC Cultural Hub and Gallery, Flowers and Femininity, explores the intersection of nature’s beauty and women’s inner strength. Through bold brushstrokes and radiant colour, Kells celebrates resilience, vulnerability, and the many layers of femininity. Each piece channels both personal reflection and universal themes, inviting viewers to connect deeply with the work.
Outside of her studio, Kells draws inspiration from the natural beauty of the Bay of Quinte. That daily connection with people and place enriches her art, grounding her practice in empathy and lived experience.
Flowers and Femininity shines as a celebration of both artistry and identity.
Quinte
Quinte
Terri Horricks Canadian Landscapes
Quinte Arts Council
Canadian Landscapes
By QAC Team
Creating has been Terri
Horricks' way of interpreting the world since an early age. After a decade-long hiatus, she has returned to the art scene, working across mediums like pen & ink, watercolour, acrylics, photography, and digital art. Her work often explores themes of harmony, balance and interconnectedness, inspired by nature.
Terri feels most at home in natural settings, where she finds solace and authentic expression. She is particularly drawn to the edges where elements meet and interact, capturing the beauty and balance of these liminal spaces. Through her art, she seeks to reconnect with nature’s profound beauty and complexity.
"It is my practice to infuse each work of art with the feeling and passion that drew me to the subject, so others can experience it, learn from it and be changed by it."
terrihorricks.ca
QAC Profile
Belleville
Quinte
Quinte Arts Council
Student Photography
Student Photography
Quinte
Student Photography Contest
The Quinte Arts Council in partnership with the Bay of Quinte Regional Marketing Board were proud to host the 2025 Student Photography Contest — a vibrant and inspiring showcase of the people, places, and natural beauty that define the Bay of Quinte region.
Open to students aged 7 to 18, the contest invited young photographers to share what makes the region special through their eyes. Submissions ranged from vivid downtown scenes and quiet lakeside sunsets to motion photography and colourful spring blooms. Entries were accepted in four age categories: 7–9, 10–12, 13–15, and 16–18. Winners have been awarded exciting prizes, including a brand new digital camera, cash awards, and the opportunity to have their work featured in a month-long exhibition at the QAC Cultural Hub throughout August 2025. The exhibition highlights the remarkable creativity and skill of youth from across the region.
Steven M First Place (Ages 7-9)
Brooke G
Vihanga W Best
Hayden L
Cabot D
First Place (Ages 13-15)
Anna J Second Place (Ages 10-12)
Maddison T
Hayden L
Ella A
Chloe S
Natalie H
Brooklyn S
Quinte
Tyler T
Darren W
Selena M
Alexander S
Xavier S
Third Place (Ages 10-12)
Sawyer M
Quinte Arts Council
Dean H
Ella A
Lara D
Kaitlyn G
Miktha M
Sophia K First Place (Ages 10-12)
Killian K Second Place (Ages 7-9)
Jase R
Abigail S
Killian K
Isaac B
Sophia K
Adina B
Dinoor T
Amy VS Second Place (Ages 13-15)
Addison J Beatrice L
Makyla P
Quinte Arts Council
Mya M
Gavin R
Olivia H
Hannah H Second Place (Ages 16-18)
Olivia H
Alyssa F
Addison G First Place (Ages 16-18)
Emerson G
Temi O
Doug Robinson
studied sculpture at the Ontario College of Art and Design, the University of Guelph, and in Italy. His sculptures— crafted from limestone, travertine, and marble— have been exhibited in France, Germany, London, Montreal, at the QAC Cultural Hub and Gallery in Belleville and Prince Edward County, Ontario.
Sculptor: Doug Robinson
Photographer: Christopher Gentile
Content created in collaboration with the Bay of Quinte Regional Marketing Board
