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.
A message from Artistic Executive Director Emily Dix regarding Bygone Theatre’s commitment to diversity and accessibility;
When I started Bygone Theatre back in 2012 my main goal was to produce engaging, character-driven theatre from the early 20th century – there were stories I wanted to see onstage that were only available at big companies, like Soulpepper, Stratford or Shaw, and I wanted something similar but on a smaller, more accessible scale. I set about making theatre with whomever I could find, and focused more on the work than those involved. Now, as Bygone Theatre enters our 9th season, it is clear we need to expand our focus and work harder to prioritize our commitments to diversity and accessibility; simply saying “all are welcome” and using wheelchair accessible spaces is not enough. We need to make concrete, measurable changes in order to better serve our community and our work.
As a company that produces “vintage theatre”, we are in a unique position when it comes to diversity. We have the opportunity to re-examine stories through a more authentic lens, looking at them not from the perspective of turn-of-the-century, primarily white audience members, but through one of historical insight, that acknowledges that the world has always contained diverse communities with fascinating stories, even if they weren’t being published or produced.
Plays from the 1920s-60s often feature racist stereotypes, that or they completely white-wash the story and show no diversity at all. When re-staging these stories it can be easy to fall into the trap of eliminating the overt racism while still maintaining the subvert – colourblind casting, 2-dimensional characters, or tokenism. Does that mean these stories are no longer relevant, or not worth retelling? No. But they do need to be redone. And that needs to be done with care.
While diversity and accessibility have always been important to us, we have admittedly existed in a bit of a bubble. Attempts to engage communities outside of my own have rarely been met with much success, and to be honest, the difficulty in doing this lead to me not making it a top priority. I do the majority of the work for Bygone on my own, and I did not know how to engage people past simply putting the message out there, and I never had time to really learn how.
Then COVID-19 happened.
After the initial upset of coming to terms with the uncertain year ahead of us, we at Bygone came to the realization that this “break” in the regular programming is exactly what we need. We are taking this time to learn and improve, not just as artists, but as people, and a part of the Toronto theatre community. We are listening to the voices speaking out against discrimination in the arts (the #InTheDressingRoom thread on Twitter was eye-opening and deeply upsetting). We are listening to the voices telling us how to be better allies. And we are taking time to make important changes and commitments, and to share that with you now as a commitment to change and accountability. This is not a final comment, it is a series of first steps. As we continue to learn and grow we will readdress these commitments, make more, and do more. I will make these a priority, and am working on learning how to do more. The following statements come from myself, and the Bygone Theatre Board of Directors:
Bygone Theatre believes Black Lives Matter.
Bygone Theatre sees the racism faced by BIPOC communities, believes their stories and stands with them in solidarity.
Bygone Theatre sees the homophobia and prejudice members of the LGBTQ2+ community faces, believes their stories and stands with them in solidarity.
Bygone Theatre sees the women who face sexism and discrimination, the members of the #MeToo movement, believes their stories and stands with them in solidarity.
Bygone Theatre sees the challenges and discrimination faced by Mad/Disabled communities, believes their stories and stands with them in solidarity.
We are making a commitment to support all these communities, prioritize their members and stories in our work, and to continue to work to become better allies. The following is our Commitment to Diversity and Accessibility, as of June 30, 2020.
50% of all audition slots will be reserved for those who self-identify as BIPOC (Black, Indigenous, Person of Colour)
Our Diversity & Accessibility statements will be included on all audition postings
We will begin our casting process earlier than we have in the past in order to make time to submit postings to diverse communities currently outside of our network
We will continue to provide character breakdowns that do not include physical attributes or race (unless essential to the story) and will promote colour-conscious casting
Casting will prioritize actors that have the shared experience of the character
Rehearsal Process
The first day of rehearsal will include a talk about equity, diversity and inclusion
All cast members will be required to sign a contract that includes a code of conduct which addresses equity, anti-racism and sexual harassment – this will include a clear structure breakdown for a complaint and resolution process
Should we produce a show that centres around a character or story about a diverse community, we will hire a consultant or creative team member from that community to address any issues both in the play and the rehearsal room
Production Process
We will prioritize the hiring of female, LGBTQ2+, Mad/Disabled and BIPOC production artists*
We will prioritize businesses run by women, LGBTQ2+, Mad/Disabled and BIPOC folks when purchasing items for our company or productions
We will research the companies that we patronize to ensure they have values consistent with our own
*At the time of writing Bygone Theatre is without any consistent funding, and so our productions rely heavily on the support of volunteers. When we achieve a status that allows us regular operating funding we will re-address this and make a more concrete commitment to diversity numbers, but at the moment many roles are filled by our Artistic Executive Director (who often produces, directs and designs our shows) and whomever chooses to volunteer.
OUR COMMITMENT TO ACCESSIBILITY
Auditions & Casting
We will provide accessible auditions by prioritizing accessible spaces, and, when not available, allowing self-tapes or other opportunities for audition submission
We will clearly state the accessibility issues with any space we use, and will provide accommodation whenever necessary
We will clearly state all accessibility issues and potential solutions on all casting and production calls – for example, roles that can be fulfilled from home or that can be completed on a flexible schedule will be stated clearly so as to encourage those with accessibility issues to apply
We will continue to hold rehearsals in spaces that are accessible by the TTC
We will continue to create flexible rehearsal schedules that value actor’s time
Rehearsal & Production Process
We will continue to encourage open communication especially around issues of accessibility, and will provide accommodation as necessary
We will continue to provide a judgement-free zone and will consult with cast and crew privately to ensure all of their needs are being met
We will provide all cast and crew with a clear breakdown of roles, responsibilities and hierarchy in order to ensure clear communication, and will include protocols for submitting concerns or complaints
Audience & Community
We will continue to prioritize accessible performance spaces and advertise possible accommodations
We will continue to provide ticket discounts to disadvantaged groups
We will continue to offer Relaxed Performances (dependent on show)
The first show of our 2019/20 season is just around the corner! October 9-20 join us at the George Ignatieff Theatre in Toronto for Eli Pasic’s Something For The Buoys!
This parody of 1930s nautical musicals is being presented by Larry Silverberg and is produced by Sapling Productions in association with Bygone Theatre. Sapling is taking the creative lead while we here at Bygone help behind the scenes to mount the world premiere of this ambitious new musical comedy.
Listen to the recent Stageworthy Podcast for some insights into the creative process.
Tickets are on sale now, use the code BTVIP at checkout to save 25% off general admission!
SYNOPSIS: A starry-eyed sailor named Jimmy feels lonely and wants nothing more than to find his true love. Accompanied by Larry, his womanizing best pal, he sneaks ashore and enters the wonderful world of New York City. Of course, Jimmy immediately stumbles upon his true love. But between a big-time Broadway offer and a cranky captain with an Alka-Seltzer addiction, will Jimmy sail into the sun and live happily ever after before the final curtain? Who Knows!
FEATURING
Rob Sapienza as Jimmy
Tom Finn as Larry
Alison Beckwith as Sarah
Jacquie Martin as Betty
Kathleen Doerkson as Doris
Anthony Botelho as Captain
Justan Myers and Robert Popoli as Sailor #1 and Sailor #2
WRITTEN AND DIRECTED BY Eli Pasic
MUSIC DIRECTION BY Jackson Seib
CHOREOGRAPHY BY Alayna Kellett
SET & PROP DESIGN BY Emily Dix
LIGHTING DESIGN BY Wesley Babcock
SOUND DESIGN BY Shaun McPherson
HAIR & MAKEUP BY Sinéad Plunkett-Blazi
PRODUCTION MANAGEMENT BY Bryan Kling
STAGE MANAGEMENT BY Kaitlind Gorman
ASSISTANT STAGE MANAGEMENT BY Kathleen-Sonja Mooney-Childs
PRODUCED BY Bryan Kling and Rob Sapienza of Sapling, Emily Dix and Conor Fitzgerald of Bygone Theatre. Executive Producer Larry Silverberg.
Kevin Forster plays Hal in our upcoming production of “Loot”, running March 7-18, 2018 at the Alumnae Theatre, Toronto.
Kevin Forster plays Hal in our upcoming production of Loot; this is Kevin’s first production with Bygone Theatre.
Bio: Kevin is a graduate of the Ryerson Theatre School and is thrilled to be working with such an amazing team on this wacky and wonderful show!
Selected Theatre: Leaf Coneybear in The 25th Annual Putnam county Spelling Bee and Marshall/Al in Seven Stories (Hart House Theatre), Peter in The Diary of Anne Frank (FSWC), Joe in Buddy: The Buddy Holly Story, Bjorn in Always Abba, and Flotsam in The Little Mermaid (The Lower Ossington Theatre), Jay in New Order (NovelSidwalk), Goneril in Cinderella, and Dopey in Balm In Gilead (Ryerson Theatre School), Clown in Bust-ed (Toronto Festival of Clowns).
Television/Film: Well Spent, Fear Thy Neighbor, God Hates A Coward, A Midsummer Nights Dream
What made you want to be a part of Loot?
Loot is a really funny script with so much potential when it is put on stage. I am a big fan of physical comedy, and this script is filled with opportunity to explore that.
How do you feel about your character? Do you relate to them at all? Share any of the same traits?
I really enjoy playing Hal. It is an interesting balance finding the humor in the scenario while keeping the truth and integrity of who he is. Also, we both love to frequent brothels, so that helps.
What’s been your favourite part of the rehearsal process so far?
My favourite part of rehearsal is playing with the other actors. Every time we run through a scene, new things are discovered. Everyone is willing to allow things to evolve and explore. It may not be right, but we won’t know until we go there.
What’s your favourite thing to have come out of the 1960s?
Non dairy creamer
Are you working on any other projects at the moment/ What might we have seen you in recently?
Recently was in a production of “The 25th Annual Putnam County Spelling Bee.” I am also in a folk rock band called “People Walking By” We play all the time so check us out! @people.walking.by
Why should people come out and see the show?
It’s a show with British accents, money, and death. What could be better? Certainly beats sitting at home swiping through dating profiles. Unless those profiles include British accents, money, and death. Then you’ve got a hard decision to make.
Anything else you want us to know?
The dot on top of the letter ‘i’ and ‘j’ is known as a tittle.
Scott McCulloch plays Truscott in our upcoming production of “Loot”. See him onstage March 8-17, 2018 at the Alumnae Theatre, Toronto.
Scott McCulloch plays Truscott – a council employee from the Metropolitan Water Board, and certainly not a police Inspector – in our upcoming production of Joe Orton’s Loot.
Bio: Loot marks the first time in a career spanning more than 30 years, well over 100 plays and close to 50 film and television productions. that he has appeared A) with Bygone Theatre B) at the Alumnae, and C) (fulfilling a long-time ambition) in one of Mr. Orton’s plays. He is delighted on all counts. Scott has been exceptionally busy doing indie theatre over the last two years, with his work including productions of Three Sisters (Wolf Manor Theatre Collective), Titus Andronicus and Edward Albee’s The Play About The Baby (Seven Siblings), Den of Thieves (which he directed for Triple Bypass Productions) Hogtown (the largest collective in Toronto theatre history) at Campbell House, and The Trial of Judith K for Thought For Food at the TPM Backspace for which he received a Broadway World: Toronto nomination for best performance by a male in a featured role. Dad in The Dreamer Examines His Pillow (JR Theatre), Richard in Time Stands Still (Leroy Street Theatre) and Dr. Black in the dora award winning The Belle of Winnipeg (Keystone Theatre) are just a few of his other favourite stage roles. Favourite experiences in front of the camera include the films “Blood Empires”, “Phone Company Man”, “The Lady of Names”, and episodes of “My Babysitter’s a Vampire”, “Mayday”, “Aaron Stone”, and “Relic Hunter.” Watch for Scott on the festival circuit in the short films, “Fowl Play” and “Split.” He holds a BFA from the University of Windsor, and an MFA from Northern Illinois University.
What made you want to be a part of Loot?
I’ve always wanted to do one of Orton’s plays, so I was all over it as soon as I saw the audition notice.
How do you feel about your character? Do you relate to them at all? Share any of the same traits?
Truscott’s probably not the most admirable of human beings, but I love playing him. The longer I work on the role, the more I find I do have in common with him, to a greater or lesser degree, but the first thing that jumped out at me was the need to be the smartest person in the room. I’ve been trying to work on that in my personal life, but as Truscott, I can give it free reign. And of course there’s the whole wearing of women’s underclothes thing. There’s no actual mention of that in the script, but I’m pretty sure he does.
What’s been your favourite part of the rehearsal process so far?
My favourite part of the rehearsal process so far has been just getting to play in the Orton sandbox with such a talented group of playmates.
What’s your favourite thing to have come out of the 1960s?
My favourite thing to come out of the 60’s? Well, I’m dating myself here, I suppose, but . . . me. And the Rolling Stones.
Are you working on any other projects at the moment/ What might we have seen you in recently?
A web series project (which co-stars Luba Goy) that I’m involved with is being pitched to potential investors in March in NYC, so I’d love it if people could give our FB page a like: www.facebook.com/savecaptjakes/ Several episodes are already available for viewing there too. I also have several short films in the can which should be popping up at various festivals before too long: 45, Fowl Play, Split, and Roadmarks. And a feature I did a few years back, Blood Empires, is still widely available online.
Why should people come out and see the show?
Orton was ahead of his time, but sadly he didn’t live long enough to write more than a handful of plays and they don’t get done nearly enough. Here’s a rare opportunity to see one of his best, performed by a crackerjack cast. Did I mention it’s hilarious?
Anything else you want us to know? Diet Coke is even worse for you than regular Coke.
[DIRECTOR’S NOTE: I feel this may be directed specifically at me, but I choose to ignore it!]
See Scott onstage March 8-17, 2018 at the Alumnae Theatre in Toronto. Get your tickets now!
Jonah McGrath plays police inspector Meadows in Bygone Theatre’s upcoming production of the Joe Orton farce, Loot; this is Jonah’s first production with Bygone Theatre.
Bio: Jonah McGrath is a 23 year old performer from Toronto. He graduated from the Dramatic Arts program at Brock University in 2017 with a concentration in performance. Jonah has acted in a multitude of theatrical productions over the past seven years including: Play by Samuel Beckett, The Rise and Fall of the City of Mahagonny by Bertolt Brecht, The Man in the Case by Anton Chekov and many more. Jonah is ecstatic to be a part of Bygone Theatre’s Loot ensemble and for the personal artistic growth and sheer hilarity that are bound to result from such a fabulous opportunity.
What made you want to be a part of Loot?
I was instantly drawn the hilarity of the plot of Loot. For nearly as long as I’ve been an actor I have loved good comedies and more specifically good english farces. It’s also worth noting that have just recently moved to Toronto and I was keen for the opportunity to connect with/work with fellow theatre artists from the city.
How do you feel about your character? Do you relate to them at all? Share any of the same traits?
Meadows is an unquestioningly obedient sidekick to Truscott. As a result of his steadfast loyalty to the British police force he remains quite aloof throughout the entirety of the play. I can certainly identify with this to some degree. There have most definitely been times in my life when my unquestioning faith in social constructs have lead me into a state of aloofness.
What’s been your favourite part of the rehearsal process so far?
Well, I think that the cast that’s been assembled for this production is both infinitely talented and funny. Just being given the opportunity to observe their exploration of the script and their respective characters has been immensely funny and informative as a growing artist.
Are you working on any other projects at the moment/ What might we have seen you in recently?
At the moment, I’m also working with a group of past peers and professors from Brock University on a devised theatre piece entitled We Who Know Nothing About Hiawatha. This production will explore the extreme societal disconnect between the indigenous population and the rest of Canadian society. This show will be staged at the In The Soil Arts Festival in downtown St Catharines over the course of late April.
Why should people come out and see the show?
Because it’s hilarious! I also believe that this piece is remarkably relevant to a modern Canadian audience. Joe Orton provides a wealth of commentary on those in positions of authority and social attitudes towards death which I think will most definitely resonate with Toronto show goers. If you’re a fan of either absurdist humour or scathing British commentary then this is the show for you!
Anything else you want us to know?
Come and check out We Who Know Nothing About Hiawatha as well as a variety of other theatrical productions and artistic exhibits at the In The Soil Arts Festival in St Catharines. The festival will run from April 27th to the 29th.
See Jonah onstage March 8-17, 2018 at the Alumnae Theatre. Tickets on sale now.
Patrick Young plays the recently widowed Mr. McLeavy in our upcoming production of Loot; this is Patrick’s first production with Bygone Theatre.
Bio: Patrick retired last year from Sheridan College, where he founded the joint actor-training program with University of Toronto Mississauga and headed it for 25 years. He directed two shows for Theatre Sheridan and twenty-something for Theatre Erindale, from The Importance of Being Earnest and The Maid’s Tragedy to Picnic and Unity (1918). He has also been Artistic Director of Dalhousie Theatre Productions, Associate Director of the Lighthouse Theatre Festival, and Director/Dramaturg of the Muskoka Festival Musical Theatre Writer’s Colony, and is the author of four award-winning biographical plays (three of them with music by Bob Ashley) as well as several adaptations of classics. In his earlier incarnation as an actor, his Toronto credits included the record-breaking hits Flicks, The Relapse, and the original production of Automatic Pilot, as well as Chinchilla and the last national tour of Spring Thaw. Elsewhere the range included Misalliance and Threepenny Opera in Boston, Uncle Vanya and Tobacco Road in Indiana, Windsor in Charlottetown, Dames at Sea in Winnipeg, Hay Fever across BC and Scapin across Ontario, plus guest starring on such TV series as The Great Detective and Night Heat.
What made you want to be a part of Loot?
As soon as I had a chance to re-read it, I knew I wanted to play Mr. McLeavy. So I looked up Bygone Theatre and was pretty impressed. Then I asked to audition and the rest is history.
How do you feel about your character? Do you relate to them at all? Share any of the same traits?
McLeavy is a breath of ostensible normality in a world gone mad. With his naïve trust in institutions and authority (at a time when we’re doubting them more than ever!), he throws the point of the play into perspective. And don’t we all wish that we had reason to get that trust back?
What’s been your favourite part of the rehearsal process so far?
We’re just starting it – it’s getting the play on its feet to explore the possibilities and test the choices. And I love working with my talented cast-mates!
What’s your favourite thing to have come out of the 1960s?
I was at university then so that’s easy: The Beatles! Though I should also mention the beginnings of the sexual revolution. We all benefit from both of them!
Are you working on any other projects at the moment/ What might we have seen you in recently?
Not yet, but my production of THE IMPORTANCE OF BEING EARNEST for Theatre Erindale was chosen one of the Ten Best shows west of Toronto in 2017 – including Stratford and Shaw (!) — by the Ontario Arts Review. I’m definitely game for more acting or directing, but as I just retired from a full-time College Professorship, I’m not in a rush. And I have travel plans!
Why should people come out and see the show?
Because it’s going to be so much fun! It’s so cynical that it’s the perfect antidote to today’s cynicism!
Kenton Blythe is playing trouble-maker Dennis in our upcoming production of Loot. You may remember Kenton from one of our Retro Radio Hours, or from his role as Max Halliday in Dial M For Murder, back in 2013.
Kenton Blythe and Rebekah Manella in Dial M For Murder, 2013
Bio: Kenton is excited to be farcing around with you and this awesome cast. Selected Theatre Credits include: Grey (Toronto Fringe)[Best Ensemble Nominee My Entertainment World], Heart of Steel (Next Stage Fest.) Cabaret. Juno and the Paycock (Shaw Festival), Evil Dead: The Musical (Starvox Ent. w/ Jeffery Latimer Ent.), Dial M for Murder (Bygone Theatre) Selected Film: Sandman: 24 Hour Diner (Youtube / Vimeo), Reign (The CW), Blood and Fury: America’s Civil War (AHC), Looking For Today (Canadian Film Fest.) Twitter: @KentonBlythe IG: @KentonBlythe Youtube: Kenton Blythe
What made you want to be a part of Loot?
I loved the script when I read it and I always get cast as murders and racists, so a farce is a lovely change of pace.
How do you feel about your character? Do you relate to them at all? Share any of the same traits?
Dennis is fun loving, scatter brained, and perpetually horny. Yes.
What’s been your favourite part of the rehearsal process so far?
Figuring out how to make everything I say sexual in some way. Don’t know if they’ll all make opening night…
What’s your favourite thing to have come out of the 1960s?
The Beatles, and my Aunties (All of them.)
Are you working on any other projects at the moment/ What might we have seen you in recently?
Check out my youtube channel and facebook page for highlights from the show I wrote and performed at the 120 Diner in November 2017. Conor Fitzgerald (One of the producers of this show) and I made a movie that premiered at the Canadian Film Festival in 2016 called Looking For Today which is also on Youtube. Finally you should check out the Sandman fan film I was in called Sandman: 24 Hour Diner.
Why should people come out and see the show?
We have all the comedy of a corpse without the smell.
Anything else you want us to know?
Here are all my social media outlets, you should totally follow them:
Twitter: @KentonBlythe
Instagram: @KentonBlythe
Facebook: Kenton Blythe (the page)
YouTube: Kenton Blythe
You can see Kenton Blythe onstage at the Alumnae Theatre March 8-17, 2018.
Get your tickets online now.
Sarah Thorpe plays Nurse Fay in Bygone Theatre’s “Loot”. March 8-17, 2018 at Alumnae Theatre.
Sarah Thorpe plays decent Catholic Fay McMahon in the upcoming production of Loot; this is Sarah’s first production with Bygone Theatre.
Bio: Theatre artist and creative core member of Soup Can Theatre. BAH Theatre from York University. Created and performed in the award-winning one-woman show Heretic, a modern retelling of the story of Joan of Arc, in 2015. Acting credits: Gut Girls (Alumnae), Titus Andronicus (Seven Siblings), Behold, the Barfly! (Spoon Vs. Hammer/TO Fringe 2016/TO SketchFest 2017), The Comedy of Errors (Confidential Shakespeare Project), The Loyalists (Single Thread), Canadian premiere of Bare (Waters Edge), The Nightwood (Luminato), inaugural production of Tomson Highway’s Pimooteewin/The Journey (Soundstreams). Soup Can credits: directing Love is a Poverty You Can Sell 1 & 2 (TO Fringe 2010 & 2013, Best of Fringe 2010, Next Stage 2012), No Exit, Marat/Sade; producing Circle Jerk, A Hand of Bridge/No Exit double bill, Antigone (TO Fringe 2012). Producing elsewhere: Let’s Go! (DMT), Gut Girls, Behold, the Barfly!. Recent recipient of two OAC grants: mentorship in directing with Alan Dilworth through Theatre Ontario’s Professional Theatre Training Program, and a recommender grant through Volcano Theatre to create a play about Maud Wagner, the first known female tattoo artist in the US in the early 1900s. Facebook.com/SarahThorpeArtist • SoupCanTheatre.com
What made you want to be a part of Loot?
I love the satire in Loot. Nothing is sacred. It’s like a Monty Python episode in that way – everything is on the table to poke fun at.
How do you feel about your character? Do you relate to them at all? Share any of the same traits?
Without giving too much away, Faye is a master manipulator but she finds herself in a situation where those skills may not be enough to help her get what she wants. We’ve all been in situations where we find ourselves in over our heads and scramble to try to get the situation back in our control.
What’s been your favourite part of the rehearsal process so far?
It’s just a really fun room to be in. It’s a farce, so I think it’s important that the atmosphere we work in is light and absurd, in a constructive way of course.
What’s your favourite thing to have come out of the 1960s?
Lots of music: David Bowie, The Rolling Stones, The Velvet Underground, Marianne Faithfull, I could go on….
Are you working on any other projects at the moment/ What might we have seen you in recently?
I recently received a recommender grant from the Ontario Arts Council (recommended via Volcano Theatre) to create a piece about Maud Wagner: a circus artist who became the first known female tattoo artist in the US in the early 1900s. I’ll be creating this piece with two friends and colleagues, one a circus artist and one a tattoo artist. Once Loot‘s run is over, I’ll be jumping in to that!
Why should people come out and see the show?
Need a break from reality and a couple of hours to just laugh and enjoy some ridiculous hi-jinks? Get your butts to bygonetheatre.com to get your tickets!
Press release for the Loot Collective’s production of Joe Orton’s “Loot”, supported by Bygone Theatre. Running Mar. 8-17, 2018 at the Alumnae Theatre, Toronto.
FOR IMMEDATE RELEASE:
MONDAY JANUARY 8, 2018
The Loot Collective Presents Joe Orton’s 1960s Farce
LOOT
TORONTO, ON (Monday January 8, 2018) – Bygone Theatre has partnered with the Loot Collective to support their production of Loot, running March 8-17th, 2018 at the Alumnae Theatre, 70 Berkeley St., Toronto. This is a Canadian Actor’s Equity Association production under the Artist’s Collective Policy. Directed by Emily Dix.
SYNOPSIS
England, 1965; Only hours before her intended burial, the late Mrs. McLeavy is removed from her coffin by her son, Hal (Kevin Forster), and his best pal, Dennis (Kenton Blythe), who have together just robbed a bank and need the coffin to stash the loot. The boys try to hide the corpse from the recently widowed McLeavy (Patrick Young) and his deceased wife’s nurse, Fay (Sarah Thorpe), but with Inspector Truscott (Scott McCulloch) hot on their heels, their plan quickly begins to unravel. Absurdity abounds in this dark, 1965 farce that examines attitudes surrounding death, police integrity, and the Catholic church.
ABOUT THE CAST
Patrick Young is Mr.McLeavy in “Loot”.
Patrick Young (Mr.McLeavy) has had an extensive career on and off stage, and may be best known in Toronto for his work at Sheridan College, where he founded the joint actor training program with the University of Toronto Mississauga. He is the author of 4 award-winning biographical plays, and has an extensive directing resume. Past acting credits in Toronto include Flicks, The Relapse and the original production of Automatic Pilot.
Scott McCulloch is Inspector Truscott in “Loot”.
Scott McCulloch (Truscott) has had a career spanning over 30 years, 100 plays and nearly 50 films. Recent credits include the immersive production Hogtown at Campbell House, the Wolf Manor Theatre production of Three Sisters, and the Thought For Food production of The Trial of Judith K for which he received a Broadway World Toronto nomination of Best Performance by a Male in a Featured Role.
Kenton Blythe is Dennis in “Loot”.
Kenton Blythe (Dennis), was most recently seen in the Toronto Fringe hit, Grey. Other stage credits include the Starvox Entertainment production of Evil Dead: The Musical, and a stint at the Shaw Festival, where he was seen in Juno and the Paycock and Cabaret. You may also remember Kenton from Bygone Theatre’s 2013 production of Dial M For Murder.
Sarah Thorpe is Fay in “Loot”.
Sarah Thorpe (Fay) is a multi-talented theatre artist and a core creative member of Soup Can Theatre. She created and performed in the award-winning one-woman show Heretic, a modern retelling of Joan of Arc, in 2015, and has more recently been seen in Toronto Fringe Hit, Behold! The Barfly! and Gut Girls at Alumnae Theatre.
Kevin Forster as Hal in “Loot”.
Kevin Forster (Hal) is a graduate of the Ryerson Theatre School and has been featured in several productions at the Lower Ossington Theatre, including The Buddy Holly Story, Always ABBA and The Little Mermaid. He has also performed at Hart House Theatre and in the Toronto Festival of Clowns.
Jonah McGrath is Meadows in “Loot”.
Jonah McGrath (Meadows) is a recent graduate of the Brock University Dramatic Arts program. Recent credits include Play by Samuel Beckett, The Rise and Fall of the Cityof Mahagonny and Chekov’s The Man in the Case.
ABOUT THE DIRECTOR
Director/ Producer, Emily Dix.
Emily Dix is a founding member and the Artistic Executive Director of Bygone Theatre. As a producer, she has worked with Tarragon Theatre and Theatre 20, and has produced all of Bygone Theatre’s productions to date. She got her start directing at the University of Toronto, working on shows such as the Hart House Theatre production of The Night of The Iguana as an assistant director, and directing a number of shows for the campus colleges. Bygone Theatre directing credits include; His Girl Friday; Vaudeville Revue; Wait Until Dark; Rope; Dial M For Murder and Doubt: A Parable. In addition to directing, Emily does the costume design for all of Bygone Theatre’s productions.
PERFORMANCE SCHEDULE Thursday March 8 – Saturday March 10, 8:00pm
Tuesday March 13 – Saturday March 17, 8:00pm
Saturday March 10, Sunday March 11, Saturday March 17, 2:00pm matinee
Bygone Theatre 