The Yellow Wallpaper Diaries: International Women’s Day

The ladies behind The Yellow Wallpaper. L-R: Shreya Patel, Bria Cole, Kate McArthur, Emily Dix, Helga Packeviciute and Julia Edda Pape.

This International Women’s Day we’re taking a moment to highlight the lovely ladies who have put together our current production, a new take on Charlotte Perkin Gilman’s feminist horror classic, The Yellow Wallpaper.

EMILY DIX: DIRECTOR, WRITER, PRODUCER, DESIGNER

Emily is thrilled to be working on Bygone’s 10th season. She founded Bygone Theatre in late 2012 and has been running it as Artistic Executive Director ever since, directing, producing, and designing the majority of their productions. Recently she wrote and directed a new stage version of The Birds, a “masterful homage” to the classic Hitchcock film, performed at Hart House Theatre. Prior to that, she wrote and directed The Rear Window, an “engaging and unexpected take” on another Hitchcock classic, winning the Broadway World Toronto Award for Best Direction of an Equity play. She has worked as a theatre freelancer in Toronto for more than a decade, including as a producer with companies like Tarragon Theatre and Crow’s Theatre. She also dabbles in film and tv, most recently working as a researcher for a Cineflix true crime documentary. Her next production is a return to comedy with Wayne & Shuster at Hart House, May 2023. Emily is grateful for the chance to have worked with such a stellar team of multi-talented women on a project that, while very different in style from her usual work, surrounds themes she is passionate about. Learn more at emilydix.com.

KATE MCARTHUR: WRITER, ACTOR

Kate McArthur is a Mad (Bipolar 1 Disorder)/ Queer actor/theatre artist and is a Co-Artistic Leader of Skipping Stones Theatre, a Toronto based company whose mandate is to tell stories through the lens of mental health or stories that centre around it. She received a Prix Rideau Award nomination for Outstanding Lead Performance for her performance as Nurse/Mercutio/Prince in a Company of Fools’ production of Romeo and Juliet. She constantly seeks to grow as an artist and is dedicated to the creation of important work in supportive spaces with professional standards. Selected credits: The Tempest, Romeo and Juliet, Twelfth Night, As You Like It with a Company of Fools; A Midsummer Night’s Dream, Gorboduc, The Changeling with Shakespeare BASH’d; Hamlet(s), Laughing Wild, 4.48 Psychosis with Skipping Stones Theatre; The Rear Window with Bygone Theatre.

BRIA COLE: MEDIA PRODUCER, PROJECTION DESIGNER

Bria Cole is a junior architect and documentary filmmaker. She has worked in the nonfiction film industry and with cultural organizations in Toronto and New York including People Design Cooperative, Philip Beesley Architects, Downtown Community Television, Girls Write Now, Tribeca Film Festival and Mongrel Media. She explores outdoor projection, media infrastructure in border regions, and collective solutions within the design and build community.

Bria is continuously working at the intersection of media arts, architectural design and narrative. The arts always have been and will be vital to her. It’s been a joy to work in this immersive theatre project and she will be on the lookout for more hybrid, public works. 

Website: briacole.com

JULIA EDDA PAPE: ASSISTANT DIRECTOR

Julia Edda Pape is a current student at the University of Toronto and (hopefully) a future director, writer and actress. She is thrilled to return to Bygone Theatre as Assistant Director for The Yellow Wallpaper after working as Apprentice Director on The Birds last Fall. She is currently directing “Maggie Chun’s First Love & Last Wedding” by Helen Ho which will be debuting at the Toronto Fringe Festival this summer (check it out on Instagram @maggiechun.fringeto)! She is grateful to her friends, family and Bygone for the on-going support, encouragement and opportunities.

SHREYA PATEL: ASSOCIATE PRODUCER

Shreya Patel is a multifaceted individual, who has made a significant impact in the worlds of entertainment, activism, and mental health advocacy. Model-turned-actress, filmmaker and mental health advocate, Patel is the honoree of Top 100 Most Powerful Women of Canada, Forbes 30 Under 30, Women’s Achiever Award, Top 25 Canadian Immigrant Award and Emerging Leader Under 35. Patel has been acknowledged for her efforts in advancing equity in her community, with an honorable mention from the City of Toronto. She was also listed among DissDash’s “Top 50 Coolest South Asians of 2021” alongside notable figures such as Priyanka Chopra, Kamala Harris, and Hasan Minaj. She has also graced the pages of fashion magazines like Vogue and Grazia. As an actress, she has brought raw emotion and depth to her roles in films like Strangers In A Room, Vivid, and The Intersection, which explore themes of mental health. Patel’s debut documentary, ‘Girl Up’, is an unflinching look at the reality of domestic human trafficking and was partnered with the Toronto International Film Festival and the Civic Action Summit. Her music video directorial debut, Freedom Dance, which featured famous personalities from 7 countries, has over 1.2 million views on YouTube. In the wake of the COVID-19 pandemic, she rallied 66 countries to come together for Unity- #LOVESPREADS Faster Than Virus, a documentary that showcases the plight of the human spirit, which was the closing film at the Munich Film Festival. As one of the faces of the Canadian Screen Award-winning national mental health awareness campaign “Bell Let’s Talk”, Patel is committed to raising visibility and breaking the silence around mental illness and support. Currently, she is working on a comedy series, Layla is Relevant and writing a film about trafficking while also producing various projects under her company, Window Dreams Productions.

HELGA PACKEVICIUTE: PRODUCTION DESIGN ASSISTANT

Helga Packeviciute is an Ontario based sculptural artist and architectural designer, and is thrilled to be able to assist Bygone Theatre. After finishing her Master of Architecture, focusing on the relationship between ornamentation, transgression, and fabrication methods within architecture, she is delighted to use her expertise to help support production design for “The Yellow Wallpaper”. Helga is currently producing sculptural works in Hamilton and is happily embracing its industrial heritage and welcoming arts community. The central theme of her work is a playful subversion of one’s expectations of materiality in its representation and use. This is reflective of her experience as a woman within architecture, where investigation of craft and materials has long been associated with male dominated architectural practice. In her spare time, Helga can be found on hiking trails, cross-country ski paths, or wherever there is nature to explore.

Thank you ladies for all you do!

Reviving Dead Paper

The tragedy in “The Yellow Wallpaper” by Charlotte Perkins Gilman has always been a contentious one. On one level, the devastating psychological torment and breakdown of The Woman is gut wrenching. The betrayal she faces from a spouse who ought to protect her, the inescapable pathologization that seems to get her from all angles by all the male physicians in her life, the eerie infantilization of being kept in the nursery, and the list goes on. Gilman’s short story is harrowing to read and only made more difficult with added historical context and knowledge of the realities of the so-called rest cure. The Woman’s mental suffering after childbirth is exacerbated by isolation, stillness and boredom until she breaks – becoming terribly obsessed with the facelike pattern in the wallpaper that is her only company. Yet, on the other hand – she won in the end, did she not? 

Part of what keeps readers returning to “The Yellow Wallpaper” year after year since 1892 is the mad power in its conclusion: “I’ve got out at last”. Despite the torturing rest cure imposed upon The Woman by her husband John, she carves out moments of liberty and community for herself. While these glimpses at freedom are both fleeting and imaginary, they are real for The Woman and they are hers – the one thing she has that is not controlled by John or her “caregivers”. The woman in the wallpaper is a manifestation of what The Woman needs to make it through each day. She creates a companion that can help her regain agency. In this way, The Woman revives herself in bringing life to the wallpaper. 

The Woman’s journal is “dead paper,” meant to be read only by herself and, in fact, meant to remain totally secret for fear of punishment. Contrastingly, when The Woman brings her wallpaper to life, she keeps it a secret not for fear of facing repercussions but because she wants it to be hers alone. By the end of the story, The Woman is crazed, yes, but also empowered by her wallpaper to take control of her situation – She is not locked in by someone else, but has locked everyone out and thrown away the key. As The Woman crawls over top of John, she is taking back her power over him. She is no longer being controlled or caged by her husband.

Powerfully, the narrative of “The Yellow Wallpaper”is analogous to the real world functions of the story itself. In publishing her piece, Charlotte Perkins Gilman transformed her own dead paper. She liberated her mind by putting the pain of her rest cure treatment into words and revived generations of women by creating a community through literature and testimony. 

Just as Charlotte Perkins Gilman did by bringing her life to her dead paper – in releasing the woman in the wallpaper, The Woman has released herself. 

By Julia Edda Pape, Assistant Director, The Yellow Wallpaper

BIO: Julia Edda Pape is a current student at the University of Toronto and (hopefully) a future director, writer and actress. She is thrilled to return to Bygone Theatre as Assistant Director for The Yellow Wallpaper after working as Apprentice Director on The Birds last Fall. She is currently directing and acting in 7 Letters Since Sunday, a play she wrote for the UofT Hart House Dramafest and will be directing Maggie Chun’s First Love and Last Wedding by Helen Ho at the Toronto Fringe Festival this summer. She is grateful to her friends, family and Bygone for the on-going support, encouragement and opportunities.

The Yellow Wallpaper Diaries: Director’s Notes

The idea to create a staged version of The Yellow Wallpaper first came about back in 2020, when I heard about the new Canada Council for the Arts Digital Now Grant, and thought immediately of reaching out to our VFX friends about making an animated wallpaper. What started as a simple concept for a one-woman show quickly expanded as more people were brought into the project, eventually culminating in Bygone’s most ambitious project to date.

Emily Dix – photo by Conor Fitzgerald

Bria Cole came on as our Media Producer, but that title does not begin to describe all she’s done for this project. From technical planning and projection mapping, to creative suggestions on how to better create interactive exhibits, Bria is very much a creative influence as well as a tech guru.

Bria Cole – photo by Emily Dix

Kate McArthur and I adapted the script, and wrote additional sections that could be voted on by streaming audience members, making for a sort of “choose your own adventure” feel: we wanted to avoid creating a Zoom show that felt like just a poorly filmed play, and were eager to make sure the footage was top quality and that there was still an interactive element for those watching from home.  Accessibility is a key factor for Bygone whenever we are creating a show, and while Campbell House makes for a beautiful and unique venue for this production, it is unfortunately not accessible due to its tall, winding staircase. Often I find that “accessible” options for things really mean offering a lower quality version that has been adapted to accommodate, and we didn’t want this to feel like a back-up. We’ve worked hard to ensure that both the in-person and online versions of the show are unique experiences in themselves, and encourage those who can to experience both.

Kate McArthur – photo by Emily Dix

“Accessibility is a key factor for Bygone whenever we are creating a show…We’ve worked hard to ensure that both the
in-person and online versions of the show are
unique experiences in themselves”

We rehearsed and blocked scenes knowing that they needed to look interesting not just for the streaming audience, who would see it cut live using Black Magic Technology, but for those who were watching any particular angle at a given time while wandering Campbell House – this was a difficult feat given our limited time in the venue, and meant that on top of memorizing 30 pages of repetitive monologue Kate needed to keep track of some very specific blocking, all learned in a short period of time. Luckily, Kate is an awesome talent and a pro, and makes it all look much easier than it is.

We wanted each room in the house to have a different feel, something interesting and specific to it and the story. Bria and her Production Design Assistant, Helga Packeviciute, came up with the idea of using black light to give audience members a chance to explore and find different elements on their own. When I got a black light pen and saw the blue glow, I immediately thought of old flow blue plates, and so that is what inspired the dishes seen in the dining room. On a beautiful long table, draped in a cloth, instead of seeing a formal dinner set out we see The Woman in her bed, her most intimate moments on display in what almost feels like a medical dissection table. The white plates blend into the projection, but when viewed under a black light reveal perversions of antique chinaware, sharing the secrets and fears of The Woman – things that are right under our noses, but can’t be seen unless you know how to look.

Helga Packeviciute – photo by Emily Dix

The overall concept for the show was to have an experience where you could feel like you understand The Woman’s story, you’re privy to her private moments, but still the isolation and distance she feels is evident at every moment. No one goes into her room. No one sees her directly. Instead you see pieces of her in one room at a time, limited to a certain angle and so never seeing the full story. Or, you watch online, the film cutting to follow the action, but leaving out the chance to see or hear the additional context you would get from visiting the rooms. Partly inspired by COVID-19 and the toll isolation took on our mental health, as well as the way in which social media affects our view and understanding of mental illness, the show leans heavily into the digital elements, using them to purposefully show both intimate things we would not normally see up-close in a play, and to hide others, reminding us that anything viewed through a digital lens is skewed, and incapable of telling the full story – what we don’t see is just as important as what we do.

“you’re privy to her private moments, but still the isolation…is evident at every moment…anything viewed through a digital lens is skewed, and incapable of telling the full story – what we don’t see is just as important as what we do”.

While discussing the ways the different senses could be used in the show, we considered various soundscapes to fill the house. Ultimately, we decided to have Kate’s voice play in all the rooms, to give some sense of linear story to a show that could become confusing without some thread to follow through all the different possible paths. However, we wanted to have a way to limit this in a similar way to how we limit visuals, making it so that you couldn’t get extra information about one aspect of the show without missing out on another. It was decided that we would record conversations between characters that are mentioned but not seen in the show. By picking up a pair of headphones placed strategically in the house, audience members can “eavesdrop” on private conversations between Mary, the maid (played by Barbara Athanasoulas); Henry, the cousin (Davide Sallese); his wife, Julia (Julia Edda Pape); William, the brother (Jonah Waugh); and Dr. Weir Mitchell (Robert Pape). As with real eavesdropping, it is impossible to know what you will hear, and so everyone who listens in will catch a different part of the conversation. While this will give some context to The Woman’s story, while listening to that you will not be able to hear what she is saying, once again emphasizing the fact that it is impossible to ever know the entire story of someone’s life. These conversations were written and directed by our Assistant Director, Julia Edda Pape, who researched mental health treatment of the time to ensure their historical accuracy. Julia also helped us in rehearsals, assisted with setting up the house, and learned how to cross stitch in record time to help me make one of the pieces found in the house.

Julia Edda Pape – photo by Emily Dix

Conor Fitzgerald is credited as Producer, and in the early days of this project that was his only role – securing us sponsors and creating contracts. But as the tech needs of the project grew greater and greater, he found himself learning how to use all of the technology, and set up the streaming and switching, and likely many other things I don’t know the details of as they are beyond my pay grade. Essentially, Conor handled the hardware while Bria took on the software, and I learned how to cue them all.

Shreya Patel was a late addition to the team, but a key one. As Associate Producer she has focused on getting the word out about the show, and knowing her experience as a film maker and mental health advocate, adding her to the team was an obvious choice.

Shreya Patel – photo by Emily Dix

Steve Dirckze is the talented animator behind our creepy yellow wallpaper, and his work helps to bring the audience into The Woman’s madness.

So many people have helped bring this project to life, and in a very condensed timeframe. Nicolino DeFrancesco built the mattress for the bed, making sure it was sturdy and safe for our lovely actress. Oliver Georgiou came and recorded the voice of John, the husband, in about 30 minutes, nailing it immediately. Steven Sangster generously leant us some of his film equipment, and Wendel Wray consulted with us on creative and technical elements in the early days of creation. And of course Panasonic generously provided the projectors that have made this possible.

L-R: Shreya Patel, Bria Cole, Kate McArthur, Emily Dix, Helga Packeviciute and Julia Edda Pape.

Thank you to everyone who had a part in making The Yellow Wallpaper come to life, and to all who will come and see it. We hope it entertains you and makes you think, and we would love to hear your feedback on what is a very different kind of show for us.

Emily Dix
Director

The Yellow Wallpaper Diaries: Women & Mental Health – By Shreya Patel

Mental health is something that affects all of us, regardless of our gender or background. However, women often face unique challenges when it comes to mental health due to various social, cultural, and biological factors. 

As a woman, I understand firsthand the pressures we face in our daily lives. From juggling work and family responsibilities to dealing with societal expectations, it can be challenging to find the time and energy to take care of ourselves. But I’ve learned that prioritizing my mental health is crucial for my overall well-being, and there are certain habits and tools that have helped me maintain good mental health. Let me share a few below: 

1. Connect with others 

One of the most effective ways to maintain good mental health is to connect with others. Social support can significantly impact our mental health and well-being. I always say sharing can be so healing. We can benefit from spending time with family and friends, joining social groups, or volunteering for a cause we believe in. Talking to a therapist or a mental health professional can also provide a safe space to discuss concerns and receive support. 

2. Practice self-care 

Self-care is crucial for mental health and well-being. We should prioritize self-care activities that make us feel good, such as taking a relaxing bath, reading a book, practicing mindfulness or meditation, or going for a walk in nature. Adequate sleep, healthy eating, and regular exercise can also boost mental health and overall well-being. 

3. Learn to manage stress 

Stress is a common cause of mental health problems, and we often face unique stressors, such as juggling work and family responsibilities or dealing with societal expectations. Learning to manage stress effectively can significantly improve mental health. We can try various stress-reduction techniques, such as deep breathing, yoga, or journaling. It is also essential to set boundaries and learn to say no to avoid overcommitting oneself. 

4. Engage in activities that bring joy 

Engaging in activities that bring joy and meaning to life can boost mental health and overall well-being. We should pursue hobbies, interests, or creative endeavors that make them happy, whether it’s painting, playing music, or learning a new language. Doing things that bring joy can reduce stress and provide a sense of fulfillment. 

5. Seek professional help 

Sometimes, despite our best efforts, mental health problems can arise. It is essential to seek professional help when needed. We should not hesitate to reach out to mental health professionals or their healthcare provider for support. Early intervention and treatment can prevent mental health problems from becoming severe and improve the chances of recovery. 

In conclusion, as women, we face unique challenges when it comes to mental health. However, by adopting habits and utilizing effective tools like connecting with others, practicing self-care, managing stress, engaging in activities that bring joy, and seeking professional help when needed, we can maintain good mental health and prioritize our overall well-being. 

By Shreya Patel, Associate Producer, The Yellow Wallpaper

BIO: Shreya Patel is a multifaceted individual, who has made a significant impact in the worlds of entertainment, activism, and mental health advocacy. Model-turned-actress, filmmaker and mental health advocate, Patel is the honoree of Top 100 Most Powerful Women of Canada, Forbes 30 Under 30, Women’s Achiever Award, Top 25 Canadian Immigrant Award and Emerging Leader Under 35. Patel has been acknowledged for her efforts in advancing equity in her community, with an honorable mention from the City of Toronto. She was also listed among DissDash’s “Top 50 Coolest South Asians of 2021” alongside notable figures such as Priyanka Chopra, Kamala Harris, and Hasan Minaj. She has also graced the pages of fashion magazines like Vogue and Grazia. As an actress, she has brought raw emotion and depth to her roles in films like Strangers In A Room, Vivid, and The Intersection, which explore themes of mental health. Patel’s debut documentary, ‘Girl Up’, is an unflinching look at the reality of domestic human trafficking and was partnered with the Toronto International Film Festival and the Civic Action Summit. Her music video directorial debut, Freedom Dance, which featured famous personalities from 7 countries, has over 1.2 million views on YouTube. In the wake of the COVID-19 pandemic, she rallied 66 countries to come together for Unity- #LOVESPREADS Faster Than Virus, a documentary that showcases the plight of the human spirit, which was the closing film at the Munich Film Festival. As one of the faces of the Canadian Screen Award-winning national mental health awareness campaign “Bell Let’s Talk”, Patel is committed to raising visibility and breaking the silence around mental illness and support. Currently, she is working on a comedy series, Layla is Relevant and writing a film about trafficking while also producing various projects under her company, Window Dreams Productions.

The Yellow Wallpaper Diaries: Charlotte Perkins Gilman

Early Life

Charlotte Perkins Gilman was an American novelist, humanist, lecturer and advocate for social reform. She was born in 1860 in Hartford, Connecticut to Mary (Fitch Westcott) and Frederic Beecher Perkins, a writer and librarian. She spent most of her young life in poverty after her father abandoned the family due to his wife’s inability to safely birth more children. Her mother was unable to support Charlotte and her brother Thomas on her own, and so much of their time was spent with her father’s aunts, including suffragist Isabella Beecher Hooker, writer Harriet Beecher Stowe (Uncle Tom’s Cabin), and educationalist Catharine Beecher. These strong, feminist influences clearly affected Charlotte’s interests in later life.

Her chaotic upbringing meant that Charlotte spent only a cumulative four years in school, ending at the age of 15, however she was bright and spent much of her time in the library, often studying ancient civilizations. Her mother was distant and did not show affection, and she had minimal contact with her father. Most of Charlotte’s friends were boys, and she was known to happily refer to herself as a “Tomboy”.

At 18 she enrolled in design classes in Rhode Island with the financial support of her estranged father and subsequently supported herself as an artist of trade cards. During this time she met Martha Luther, one of the most important relationships of her young life.

Love Life

An extensive collection of correspondence between Charlotte and Martha exists, demonstrating the uniquely close relationship the two women had. Charlotte herself admits to loving Martha in her autobiography, although she claims there was not a sexual aspect to the relationship. Whether or not there was, it was clearly romantic, and continued for about 4 years, until Martha called things off and married a man, devastating Gilman.

[Archive]: Charlotte Perkins Gilman: The Lost Letters to Martha (1882-1889)

In 1884 she married artist  Charles Walter Stetson, and their only child Katharine Beecher Stetson was born the following year. Charlotte suffered a very serious case of postpartum depression after the birth, something that would later influence her writing of The Yellow Wallpaper. To help aid this, she moved to California with her daughter and lived with friend  Grace Ellery Channing – in 1888, Charlotte and Charles separated, and, in something highly unusual for the time, divorced in 1894. Shortly afterwards Charles married Grace – despite this unusual relationship, the three stayed close friends, and all three were involved in raising young Katharine.

After the split from her husband, Charlotte met journalist and social advocate, Adeline Knapp, and the two developed a serious relationship. It was later written by Cynthia J. Davis that, “with a woman as life mate (Charlotte) might more easily uphold that combination than she would in a conventional heterosexual marriage.”Eventually the relationship ended.

After the death of her mother in 1893, Charlotte moved back east and re-connected with her first cousin, Houghton Gilman, whom she had not seen in nearly 15 years. The Wall Street attorney quickly became interested in Charlotte, and the two almost immediately struck up a romantic relationship. Unlike her first marriage, Charlotte seems to have been passionately in love with and attracted to Houghton, and they were married in 1900.

Feminism

Charlotte was a devout feminist who frequently wrote and lectured on the subject. In 1896 she was a delegate for California at both the National American Woman Suffrage Association convention in Washington, D.C., and the International Socialist and Labor Congress in London. Charlotte published a series of satirical poems about feminism and social change that were well received, but it was her 1898 work, Women and Economics that truly propelled her to fame. She had begun to consider more deeply sexual relationships and economics in American life, and this book discussed the role of women at home, arguing for the opportunity to expand their work to the public sphere.

In 1903, she expanded on this work with The Home: Its Work and Influence, proposing that women are oppressed in their home and need their environment changed for their mental health: that same year she addressed International Congress of Women in Berlin.

Today, her 1892 fictional work The Yellow Wallpaper is what she is best remembered for, a sort of feminist horror story about postpartum depression, the rest cure, and woman’s role in the home.

Controversial Beliefs: Euthanasia and Eugenics

In many ways Charlotte was a progressive, liberal leader of her time, however her beliefs that the presence of a large Black American minority was a “sociological problem” was undeniably racist and problematic. For her part, she acknowledged that the unfortunate situations (poverty, segregation) Black Americans found themselves in was the fault of White Americans, and recognized the role slavery had in systemic racism. Her Wikipedia article states:

Gilman was unequivocal about the ills of slavery and the wrongs which many White Americans had done to Black Americans, stating that irrespective of any crimes committed by Black Americans, “[Whites] were the original offender, and have a list of injuries to [Black Americans], greatly outnumbering the counter list.

However, it was her proposed solutions to this that were disturbing. She suggested that Black citizens who were not “self-supporting”, or who were “actual criminals” be enlisted into a quasi-military force and made to work in agriculture or infrastructure until they gained skills that were deemed good enough to allow them to “graduate with honours”.

While she did speak out against literacy voting tests in an effort to gain the vote for all women, she is quoted as having said once “I am an Anglo-Saxon before everything”, and was known to espouse eugenicist beliefs when discussing immigrants and their supposed “diluting” of the nation’s “racial purity”.

In 1932, Charlotte was diagnosed with terminal cancer. An advocate of euthanasia for the terminally ill, she committed suicide on August 17, 1935, by taking an overdose of chloroform: in both her autobiography and suicide note, she wrote that she “chose chloroform over cancer”.

The Yellow Wallpaper Diaries: Indigenous Mental Health During COVID-19

For the first in our series of blogs about the creation of The Yellow Wallpaper, we are going to look at a group of people who unfortunately report much higher instances of poor mental health (particularly depression and anxiety) than the majority of Canada: Indigenous people.

Suicide rates among adult First Nations people and Métis are twice as high as among non-Indigenous adults, and the suicide rates of children and youth are, in some areas (such as the Inuit homeland far North – Inuvialuit Region, Nunavut, Nunavik and Nunatsiavut) a shocking 33 times higher than for the rest of Canada (2004-2008 data). Sadly, suicide is one of the leading causes of death among children and youth in areas with a high proportion of First Nations people. There are numerous theories as to why this is, including stresses such as historical and intergenerational trauma; marginalization; social, political and economic inequalities; separation from family and culture; the impact of substance abuse caused by these various factors; and the insufficient use of mental health services due to a lack of culturally competent services and inadequate access. A detailed look at these problems, pre-pandemic, can be seen here. For this post, I am providing this information just as a backdrop as we look at the impact COVID-19 has had on Indigenous mental health.

It’s no surprise that those who already suffered from feelings of loneliness and depression were hit hardest during the early months of the pandemic, when sudden isolation, the fear of the disease, and potential instability due to loss of income turned everyone’s lives upside down. So knowing that Indigenous people are disproportionally affected by poverty, housing and food instability, and mental illness, it is to be expected that they found the effects of COVID-19 isolation especially difficult. In a recent study of crowdsourced participants, six in ten Indigenous participants report that their mental health worsened with the onset of physical distancing. In general, women and girls are disproportionately affected by public health emergencies, and according to this study, Indigenous women were hit especially hard. Indigenous participants described their days as “quite a bit stressful” or “extremely stressful” at a rate of 41%, compared to non-Indigenous participants who compared at 27% and 25%, respectively.

We have years of data to reflect the mental health disparities between Indigenous and non-Indigenous people, so what can we do to help change that? Truth & Reconciliation is about more than just acknowledging the harms of the past – a land acknowledgement before a show means nothing if we are focusing only on people who used to be here, and not those who still are and who are still struggling today – we need to actively work on improving the lives of our Indigenous neighbours. Here are a few of our suggestions, and we would love to hear yours:

1. Support Your Local Indigenous Community: Not sure where to start? The Native Canadian Centre of Toronto shares programs, events, and links to Indigenous artisans.
2. Donate to Indigenous Charities: Have been stripped of their rights and their culture, one of the best ways to help Indigenous communities is to provide them with funding so they can do the necessary work internally, according to their own beliefs and customs. Here’s a great list of Indigenous charities that support anything from clean water on Reserves to fostering better relationships between Indigenous & Non-Indigenous people.
3. Practise Anti-Racism: The term “anti-racism” may be new to you, but it’s something very simple: chances are the people reading this are not overtly racist, and do not think they cause any harm to their Indigenous (or other minority) neighbours. However, when you exist in a society that was built on racist principles, simply being “not racist” yourself is not enough to move forward to equality. Acknowledging systemic racism and learning about micro-aggressions is a good place to start – learn more here.
4. Educate Yourself: Make sure you are aware of things like the Truth & Reconciliation Commission, and the National Centre for Truth & Reconciliation. The NCTR provides resources and archives and exists for “Survivors, their families, educators, researchers, and the public can examine the residential school system more deeply with the goal of fostering reconciliation and healing.”

Our Part:

As part of our commitment to Diversity and Truth and Reconciliation, Bygone Theatre provides free admission to all workshops, shows and events for anyone who self-identifies as Indigenous: for free tickets to The Yellow Wallpaper, please email emily@bygonetheatre.com. As well, we provide free ad space in our program to Indigenous run Canadian businesses – email us for more information.

Mental Health Resources for Indigenous People:

Hope for Wellness: 
Help Line: 1-855-242-3310
Live chat: http://www.hopeforwellness.ca

Kamatsiaqtut Help Line
Toll Free 1-800-265-3333
In Iqaluit 1-867-979-3333

Kids Help Phone
Toll Free 1-800-668-6868
Text 686868 (no data plan, internet connection, or app required)
Live chat: http://www.kidshelpphone.ca

Indian Residential Schools Crisis Line: 1-866-925-4419

Anishnawbe Health Toronto: 416-360-0486  | www.aht.ca 
Mental health & addiction services provided in English, Cree & Mohawk

Michael Garron Hospital: Aboriginal Healing Program: 416-923-0800
www.tehn.ca/programs-services/first-nations-inuit-metis-services
Support of balance and harmony with the medicine wheel and walk with the Seven Grandfather Teachings for a mutually agreed upon care plan

Native Canadian Centre of Toronto: 416-964-9087 | ncct.on.ca
Programs delivered in English, Cree & Ojibwa including for youth & seniors

Talk 4 Healing: 1-855-554-HEAL (4325)| talk4healing.com
Support for Indigenous women by Indigenous women, available in: Oji-Cree, Ojibway, Cree, Algonquin, Inuktitut, Mohawk, Oneida, Odawa, Potawatomi, Micmac, Black Foot, Anishinaabe, Moose Cree, Swampy Cree, English & French

An extensive list of mental health programs for Indigenous people in Canada can be found here.

A comprehensive list of mental health resources in Toronto and the GTA can be found at torontocentralhealthline.ca. If you or someone you know is experiencing thoughts of suicide or are having a mental health crisis, please reach out. If a life is in immediate danger, call 911 – crisis workers and mental health nurses can be requested in place of police or EMS.

Sources:

StatCan COVID-19: Indigenous people and mental health during the COVID-19 pandemic, June 23, 2020.

National Household Survey: Aboriginal Peoples
Suicide among First Nations people, Métis and Inuit (2011-2016): Findings from the 2011 Canadian Census Health and Environment Cohort (CanCHEC)

The Yellow Wallpaper Diaries

We are now a month away from the preview performance of our next production, The Yellow Wallpaper. This show is a marked departure from our usual work – it is taking place in Campbell House Museum and is utilizing technology to tell a story of isolation and powerlessness. As we piece together this immersive production we are researching mental health, and in particular, how the isolation of COVID-19 has affected those who were already suffering from mental illness, and how it led to an increase in mental health problems for those who had not experienced them previously. We are also experimenting with technology in ways we have not before, thanks to the Canada Council for the Arts Digital Now Grant, and so this whole process is a big learning experience for us all.

Over the next few weeks, we will be posting a series of “diaries” that chronicle the creation process and provide insight, resources and context to our work. If there is something you would like to know more about, please let us know in the comments.

-E.

PRESS RELEASE: The Yellow Wallpaper

 A combination of in-person ambulatory theatre, projection installation and a  
digital streaming experience 

FOR IMMEDIATE RELEASE: TORONTO, ON (February 1, 2023)…Based on the classic short story by Charlotte Perkins Gilman, The Yellow Wallpaper follows the story of A Woman – played by Kate McArthur (BWT Award Best Featured Actress, The Rear Window) – who, after showing signs of depression, is subjected to the “rest cure” and pushed into forced isolation by her physician husband. Over time she becomes increasingly consumed with the sickly yellow wallpaper that covers her bedroom walls, rapidly losing her sense of self and her grasp on reality. A biting critique on the treatment of women’s mental health when it was first published in 1892, the story remains unfortunately relevant today when a staggering number of people report a mental health decline since the onset of the pandemic, and the inability to access adequate care. 

Directed by Emily Dix (The Birds; BWT Award Best Direction, The Rear Window) and inspired by the negative impact that COVID-19 has had on those who already suffer from mental illness, this original production is set in the historic Campbell House Museum. Animation is provided by digital and VFX artist Steven Dirckze to enhance McArthur’s live performance which is displayed throughout the house via projection design by Media Producer Bria Cole, using projection technology graciously provided by Panasonic. The participation of Kate McArthur is arranged by permission of Canadian Actors’ Equity Association under the provisions of the Dance-Opera-Theatre Policy (DOT).

Audience members are invited to wander the house and experience the show from different perspectives as they interact with unique elements found in each room. The order in which they access the rooms, as well as the time spent with various elements will inform their experience of the play, and of The Woman’s madness. Additionally, a live-streaming experience will be available for audience members to watch from home via Zoom, a process which utilizes Blackmagic Design production, broadcasting, and livestreaming technology. 

This experimental production, a marked departure from Bygone’s usual chamber dramas, is made possible through funding from the Canada Council’s Digital Now grant. 

ABOUT BYGONE THEATRE 
Bygone Theatre’s goal is to promote the growth and development of independent theatre in Toronto through production, education, and outreach. We produce character-driven stories that are written or set in the early to mid-twentieth century in an attempt to connect audiences to parts of our past that remain relevant and intriguing today. Through education initiatives such as classroom workshops and student matinees, we connect younger generations to pieces of history they are unlikely to encounter elsewhere, while also fostering youth interest and participation in theatre production. Outreach initiatives connect Bygone with other historically focused groups in Toronto, further strengthening our city’s cultural heritage. Bygone’s commitment to accessible theatre is shown through our use of wheelchair accessible venues; our various ticket discounts for disadvantaged, underserved and minority communities; and inclusion of artists of all skill and experience levels both on and off stage, including training positions for those who are new to a role. 

THE YELLOW WALLPAPER 
DATES: March 3-18, 2023 | Tues – Sat, 8pm | Sat 11 & 18, 2pm, Sun 5 & 12, 2pm 
VENUE: Campbell House Museum, 160 Queen St. W., Toronto 
CREATED BY: Emily Dix, Kate McArthur and Bria Cole 
PRODUCED BY: Conor Fitzgerald, Emily Dix
Associate Producer Shreya Patel | Media Producer Bria Cole 
ANIMATION BY: Steven Dirczke | DESIGNED BY: Emily Dix 
ASSISTANT DIRECTED BY: Julia Edda Pape 
ACCESSIBILITY: Please visit http://www.campbellhousemuseum.ca/accessibility 
RECOMMENDED FOR: Ages 12+ | Mature Themes, Mental Illness 
TICKETS: www.bygonetheatre.com/tickets | SOCIAL MEDIA: @BygoneTheatre 
MEDIA CONTACT: Emily Dix | 647-343-5965 | emily@bygonetheatre.com 

Call For Roundtable Participants

Bygone Theatre Seeks Diverse Artists For New Financial Literacy Program

FOR IMMEDIATE RELEASE:
TORONTO, ON (Thursday January 19, 2023), Thanks to the support of IGM Financial, Bygone Theatre is initiating an 6-month pilot project focused on providing priority arts groups (including young, emerging, senior, and racialized groups) with comprehensive financial literacy training through a workshop and webinar series. The goal of this program is to ensure that artists and arts workers are equipped to enter their field on equal footing to their peers.

We are seeking individuals from these priority groups to participate in a series of three roundtable discussions with the view of understanding what real artists want and need so we can provide programming that provides maximum impact and is focused on the needs of the community and, in particular, marginalized individuals. We are primarily focused on the performing arts but are offering discussions and programming to anyone in the arts.

Roundtables will be 60 minutes and participants will receive a $100 honourarium for their time. These will be held digitally with closed captioning. We have space for a total of 15 participants and will be looking for diverse representation and each of these roundtables will seek to represent our community and provide appropriate accommodations and accessibility to ensure equity. Within our priority groups, we will be ensuring there is representation from LGBTQ2+, BIPOC, and mad/disabled artists.

Roundtables will be hosted by Conor Fitzgerald (Bygone’s board chair; Bachelor of Commerce – Marketing, Juris Doctor, Master of Business Administration – Arts, Media & Entertainment Management) and will be a conversational, safe atmosphere with a view of mutuality and reciprocity.

These roundtables will inform the information that will be presented in a webinar series catered around the specific financial challenges of artists and arts workers. This series may focus on areas such as introduction to financial literacy (bank accounts, savings, money transfers, investments); managing irregular income; tax planning and taxation in the arts; retirement planning in the arts; estate planning for artists; business structures for independent artists and arts professionals; royalties and copyright; budgeting; careers in the arts; and business operations (financial statements, accounting, strategic planning).

If you are interested in participating, please fill out this form no later than Friday February 2, 2023:  https://forms.gle/eZiXaMsgTjAGrUy6A

Please contact Conor Fitzgerald (conor@bygonetheatre.com; 647-454-3797) with questions or concerns.

Giving Tuesday – Topping Up Our Artist Fund

For our first ever Giving Tuesday, we are expanding our focus on our Artists’ Fund. You have all done so much for our artists, but we still have a chance to make a huge impact for those artists who are currently on stage for The Birds.

These artists, including our lovely cast (Anna Douglas, Alex Clay, Oliver Georgiou, Kiera Publicover, and Chad Allen), our set and lighting designer (Wes Babcock), and our Stage Manager (Kate McArthur) were all hit hard by the pandemic. For most, this is their first time back on stage in over two years.

This Giving Tuesday, give directly to artists. 100% of these funds will go to paying these lovely people, who you can see on stage until December 10 at Hart House Theatre.

Click here to donate now.