Love Me Forever Billy H. Tender

January 31st, 2021: Enter Billy H. Tender, Canadian teen pop idol. Billy is about to play new music for a raging audience in Toronto, but his family is elsewhere. His theatre theorist mother, Stella, has absconded from her research and is secretly soliciting phone sex with strangers. Hal, Billy’s adoring younger brother, hasn’t left his room… and no one is answering his calls.

Following a sold-out premiere at Toronto’s Videofag, this one-man tragicomedy played Kingston, ON and New York City to rave reviews and must-see endorsements from The New York Times, NY Theatre Guide, Huffington Post, City Guide NY, Stage Buddy, Broadway World, and more.

Production History:

--Love Me Forever Billy H. Tender played at the Grand Theatre in Kingston, Ontario, August 1st - 5th at 7:30pm as part of the Kick & Push Festival.

Written and Performed by Jesse LaVercombe

Directed by Adam Lazarus

Music by Adrian Shepherd and Jesse LaVercombe
Sound Design by Adrian Shepherd
Design by Beth Kates
Cheography by Neeky Dalir
Stage Managed by Meghan Maguire
Produced by the Kick & Push Festival

--Love Me Forever Billy H. Tender played at Under St. Marks as part of The New York International Fringe Festival, August 12th - 25th, 2016, with the same team as above except for the following:
Dramaturgy by Guillermo Verdecchia
Design by Shannon Lea Doyle and Kelly Anderson
Stage Managed by Laura Malseed
Produced by Jana Fredricks and Ned Moore

--Love Me Forever Billy H. Tender premiered January 5th and ran through January 12th at Videofag in Toronto, with the same team as above except for the following:

Stage Managed by Alexa Polenz
Produced by Curtis te Brinke
Presented by Jordan Tannahill and William Ellis (Videofag)

The TEC project was made possible through the financial support of the National Theatre School of Canada

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The New York Times

"...charming, bittersweet... a treasure... [a] comedy about a pop star in crisis, his adoring little brother and their theater-theorist mother -- all played by Mr. LaVercombe."

New York Theatre Guide

"...a sucker punch to the diaphragm that makes you acknowledge what parts of yourself have been shut down... labyrinthine, psychological, tragicomedy masterpiece."

Jose Solis -  Stage Buddy, New York

"Billy H. Tender was funny, energetic & punch-in-the-gut moving. Jesse LaVercombe gives three astonishing performances. A real NYC gem!"

Broadway World / Maxamoo Podcast, New York

"Absolutely amazing. [LaVercombe] seems possessed by these characters... he doesn't have any costume changes, he just changes his mannerisms and the tone of his voice, and then he's someone completely different... I was really moved."

Time Out, New York

"He resembles a young Meryl Streep… it’s enough to make you wonder where LaVercombe might be in five years."

Theater in the Now, New York

“Hyper-ambitious… visceral… Love Me Forever Billy H. Tender thrives on precision.”

Theatre is Easy, New York

"Love Me Forever [Billy H. Tender] trades on pop culture riffs and self-conscious millennial humor but quickly detours into sensual and disturbing terrain… probing, sincere, and highly entertaining...  has clearly benefited from polished direction and dramaturgy... Adrian Shepherd has not only produced an album’s worth of original pop music, but also a whole universe of perfectly timed digitized blips, swipes, and pulses. It's stunning work."

Ilana Simons, New York Theatre Guide Interview

"What a mind on fire—he lets us in on his play with his own electric genius."

Show Score, Collected Results, New York

Kingston, 2017 photo credit: Jon Nicholls

Kingston, 2017 photo credit: Annika Broadhead

Kingston, 2017 photo credit: Annika Broadhead

Kingston, 2017 photo credit: Annika Broadhead

“I want to tell you about a day. January 31st, 2021. It wasn’t that long ago, I believe. I remember feeling it on the Internet and in the weather and in my tummy. It was like the zeitgeist finally saw itself in the mirror, and it didn't know whether to fight or flirt, so it kind of did both, and just ate itself. It was a Sunday, clear skies but cold.”

– Hal Tender
(second son of Stella Virginia Tender [former Canadian stage actress, now research assistant in the U. of Guelph’s Post-Audience Theatre Theory and Semiotics Department], younger brother of the one, the only, Billy H. Tender)

Kingston, 2017 photo credit: Jon Nicholls

Kingston, 2017 photo credit: Annika Broadhead

Pre-press, New York:

MUST-SEE LIST, Huffington Post / ZEALnyc:


MUST-SEE LIST, Show Score:

"This tragicomic look at the pitfalls of superstardom is as poetic and poignant as it is funny, and was a hot ticket at its Toronto premiere earlier this year."

MUST-SEE LIST, Fuck Yeah Great Plays!:


Kingston, 2017 photo credit: Annika Broadhead

Kingston, 2017 photo credit: Annika Broadhead

Kingston, 2017 photo credit: Jon Nicholls

The Tender Team:

Jesse LaVercombe (Performer/Playwright)

Adam Lazarus (director) is an award winning actor, director and acting instructor whose work has been showcased nationally, in the USA and Europe. He is a sessional instructor at The National Theatre School of Canada as well as a regular facilitator of workshops, including recent consultations for Soulpepper, Theatre Passe Muraille, Ziauddin Yousafzai for his 2014 TED TALK My Daughter, Malala, the Vancouver Olympic Committee, Light Fires, Apostle of Hustle, Buddies in Bad Times, DanceMakers, The Toronto Film School, Pig Iron Theatre, CanStage, Tapestry New Opera Works, The Sibiu International Theatre Festival, and Volcano Theatre.  Adam was the artistic-director of the Toronto Festival of Clowns for 10 years and is a graduate of and former apprentice to Master Teacher Philippe Gaulier. 

Notable credits include directing the Solo Show Project at the National Theatre School of Canada (2009-13); Love Me Forever Billy H. Tender (Videofag/Jesse LaVercombe); [boxhead] (Crow's Theatre/Mamalian Diving Reflex); Wonderland (SummerWorks Spotlight Award for Outstanding Performance); Le Fain de Partie (Waves festival/Luminato); Appetite (Volcano/Theatre Passe Muraille/Exchange Rate Collective); The Lupe Trilogy (QuipTake); Tyumen, Then (Groundwater Productions); Bleed (QuipTake); andThe Art of Building a Bunker (QuipTake), Daughter (QuipTake).

Guillermo Verdecchia (dramaturge) is a writer of drama, fiction, and film, as well as a director and actor. He is a recipient of the Governor-General’s Award for Drama for his play Fronteras Americanas and a four-time winner of the Chalmers Canadian Play Award. His work, which includes the Governor-General shortlisted Noam Chomsky Lectures (with Daniel Brooks), the Seattle Times’ Footlight Award-winning Adventures of Ali & Ali (with Marcus Youssef and Camyar Chai), A Line in the Sand (with Marcus Youssef), bloom, and Another Country has been anthologized, translated into Spanish and Italian, produced in Europe and the US, and is studied in Latin America, Europe and North America. 

Currently an Associate Artist with Toronto’s Soulpepper Theatre, where he heads new play development, Guillermo is also a PhD Candidate at the Centre for Drama, Theatre, and Performance Studies at the University of Toronto. He has published a number of articles and contributed book chapters on aspects of intercultural theatre practice in Canada. He has an M.A. from the University of Guelph where he received a Governor-General’s Gold Medal for Academic Achievement.

Adrian Shepherd (composer/sound designer) is a Toronto-based performer, musician, and sound designer. His designs and compositions have been heard on stages across the country. Credits include Dr. H. H. Holmes and His Children of God (Theatre Passe Muraille), James & Jamesy’s O Christmas TeaFake Nerd Girl (Toronto Festival of Clowns), Thunderfoot (International Fringe tour), The Life of Jude (Summerworks Festival), and Obsidian Theatre’s upcoming workshop of Danai Gurira and Nikkole Salter’s In the Continuum. His output as a songwriter ranges from lushly orchestrated theatrical ballads to jagged electronic dance-pop. His work as a designer focuses on the integration of composition and soundscape. He is a graduate of the National Theatre School of Canada.

Beth Kates (designer/projection designer) is a self-taught, award-winning Lighting, Projection, Set, and Costume designer who started working in rock and roll at 14. She is the co-creative director of Playground Studios, whose interactive installations include LightSpan (Nuit Blanche North), Night Light Travels (NuitBlanche Toronto); and The ToyBox. They also created projections for all the Ross Petty Pantomimes since 2011, as well as Ragtime, Pygmalion, Light up the Sky, and Peter Hinton’s Alice in Wonderland at the Shaw Festival. Other highlights: She co-created and designed The Last Donnelly Standing (with Gil Garratt and Paul Thompson), a commission from the Blyth Festival. It was fully improvised both text and design in each performance, resulting in a fully reactive and dynamic production that was never the same twice; Truth Be Told, SEEDS, Mr. New Year's Eve, Ipperwash, The Pigeon King (Blyth), MacHomer, Bigger Than Jesus, (Wyrd), The Road to Mecca (Soulpepper), SPIN (Buddies in Bad Times), Brimful of Asha (Tarragon); a rock musical about the Donnelly’s - Vigilante (Catalyst); Dora the Explorer (Koba). She also transformed Theatre Passe Muraille into a synagogue for Julie Tepperman’s Yichud.  She has lit concerts by The Headstones and Taylor Dayne, among many others. There are many works in development; including a large scale production about synesthesia and memory with Steven McCarthy; a hybrid performance art – dance – theatre piece with Salvatore Antonio; a massive cross platform multi year work generated by Patrick Finn and the University of Calgary and combining scientists, artists, theatre makers and computer engineers; and the continued development of the Dee Snider Rock and Roll Christmas Tale. Her best production to date is her 5 year-old son Aaron. Visit and

Meghan Maguire (stage manager) Recent Stage Management credits include; Suor Angelica (Centre for Oprea Studies in Italy), Charlotte a Tri-Colored Musical (Theaturtle), The Classical Theatre Project (2016-2017 Seasons), How Black Mothers Say I Love You (Girls in Bowties/Factory Theatre) The Libertine (Talk is Free Theatre), Intangible Trappings (Lester Trips Theatre), Trompe La Mort (Live Lobster Theatre), A Good Death (Cool Megs Productions)Love with Leila, A Very Leila Christmas, Leila's Girlfriends (Laugh with Leila Productions), The Birds(Theatre@York), Schema: An Installation (Schema Installations), Heart of Steele (Aim for the Tangent Productions), SexTape Project (fu-GEN Theatre). Other Credits Production Manger for Vanier College Productions (2013-2015), Production Manager for Theatre @ York (2014-2015), Production Assistant at Lighthouse Theatre (2015), Production Assistant at Theatre Collingwood (2011-2013). 

Laura Malseed (stage manager - New York) Past credits include: Tink! (Pearl Theatre Co), Pryor Truth (The Collective NY), How 2 B A New Yorker, Planet Heart (Signature Theatre), Unmentionables (Theatre 54), The Mutilated (New Ohio – Drama League Nomination), Blank Canvas (HERE Arts Center), A Dance for Rylie (dir. Bob Cline). Production Manager for Nylon Fusion Theatre Company. Graduate of Pace University. Member of AEA. 

Sold out premiere at Videofag, Toronto, 2016

Sold out premiere at Videofag, Toronto, 2016