WHAT: Indie Theatre Producing Workshop WHEN: Monday February 26, 6:30-8:30 EST WHERE: The Bridge, 379 Adelaide St. W., 4th Floor HOW: Register via link HOW MUCH: PWYC after workshop WHO: Open to all, aimed at new and emerging producers or those working with tight budgets and other indie restraints
Bygone Theatre presents Indie Theatre Producing!
You asked for it, so here it is! The next in Bygone’s monthly workshop series: Indie Theatre Producing.
This overview of low-budget producing is aimed at those who are new to producing, or who are trying to work within tight budgets and other restraints. We’ll discuss things such as;
– The roles of a producer and the other members of a team – How to make a budget – How to stay organized – How to build a pre-production and production schedule – How to sell a show – What questions to ask venues, crew members, etc. – Contracts and more.
Event is free but registration is required – please fill out the form and let us know if there’s anything specific you want to learn. Attendees are welcome to come with specific questions about their own projects. The workshop will be delivered in English in a casual lecture format, where everyone is invited to ask questions throughout. Slideshow print-outs available upon request. After the workshop attendees are welcome to make a PWYC donation via our Canada Helps page, which provides a tax receipt.
Unfortunately The Bridge is not an accessible venue and requires the ability to climb a set of stairs prior to accessing our elevator. If you have accessibility requirements please email emily@bygonetheatre.com to discuss and we will do all we can to accommodate.
As part of our mission to provide affordable, accessible space to local indie artists, Bygone has prioritized offering the lowest rental rates in the city: $10/hr plus HST. While we don’t currently have a strict definition of what “indie” is, they are meant to provide space to artists who have low/no funding for projects at a rate lower than what that artist is earning for their craft: we don’t believe anything can be called “affordable” when it has a higher rate than minimum wage, since so many artists rely on minimum wage jobs to supplement their income, or find themselves essentially living off that amount due to the nature of the gig economy.
we don’t believe anything can be called “affordable” when it has a higher rate than minimum wage
Who can access this rate and for what?
Artists of any discipline can access our IAR rates for things where they are not collecting money while being there. For example, auditions, rehearsals, or set painting are allowed – paid performances or workshops that are charging people to be there do not qualify for these rates.
Are these rates available all the time?
At the moment, no. Essentially, we can’t afford that. Right now, these rates are available when other people will already be in and using the space, but are ok with having something going on in the flex space. This way no one has to be paid to be on site as staff, and we aren’t being charged extra for use of the HVAC (something that we have in our lease). Our goal is to raise $250,000 to cover ALL expenses over the course of our lease – rent, maintenance, staffing, programming – if we succeed in doing so, then we will be able to properly subsidize the rent, and all indie artists will have access to $10/hr space for everything, all the time space is available.
Our goal is to raise $250,000 to cover ALL expenses…if we succeed…all indie artists will have access to $10/hr space for everything, all the time space is available.
I can’t even afford $10/hr, can’t you give it to us for free?
Unfortunately, no. As a charity, we can’t provide a benefit to someone/something that is outside of our purposes or isn’t a grantee. Plus, there are costs associated with just having the space, and Bygone Theatre has no operational funding. Our Executive Director, Emily Dix, is currently volunteering on a full-time basis to get things up and running, and scores of other volunteers have dedicated their time, skills and resources to help build up The Bridge. There are occasionally opportunities for energy share exchanges, where artists can volunteer their time to work on a Bygone project in exchange for free or discounted use of the space – contact us if you want to learn more.
How do I book the space at these rates?
For now, we will post specific times when these rates are available, and emails sent to rentals@379thebridge.com will be granted time on a first come, first serve basis. If we are successful with our funding a more stream-lined online system will be put in place, but for now you’ll be booking through Emily.
Join us New Years Eve and step back into the past while looking to the future, in a vintage inspired night of burlesque, fortune telling and all things mystical.
DATE: Sunday December 31, 10:00pm – January 1, 2024, 3:00am Performance starts at 11:00pm
PERFORMANCE BY: *Augusta Monet
TAROT READINGS BY: *Laura Hokstad
PLUS: Free fortune telling games throughout the space; free fortune cookies and fortune fish; and fortune-telling themed cocktails and treats for sale at the Vodkow bar.
TICKETS: -General admission $25 -Admission with Tarot Reading $30 (limited quantities) -Early Bird $20 (with code EARLYBIRD before Dec. 22, not valid for Tarot reading)
PLUS, The first 30 people to purchase tickets get a free magpie fortune bag full of little charms that will tell you what 2024 has in store!
Please note The Bridge is unfortunately not accessible. Ability to climb a set of stairs before being able to access the elevator is required. If you have accessibility concerns please contact emily@bygonetheatre.com.
The Yellow Wallpaper diaries are written by the team behind Bygone Theatre’s “The Yellow Wallpaper”, and provide additional context and resources for the show.
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 provide additional context and information for our March 2023 production of The Yellow Wallpaper at Campbell House Museum. Learn about the original author, Charlotte Perkins Gilman in this post.
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” are a series of blogs connected to our March 2023 production of “The Yellow Wallpaper”. First up, a look at 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:
Support Your Local Indigenous Community: Not sure where to start? The Native Canadian Centre of Toronto shares programs, events, and links to Indigenous artisans.
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.
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.
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 Diversityand 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.
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.
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.
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.
Now looking for high school students to join our Youth Production Assistant (YPA) program!
Bygone Theatre is excited to announce our newly expanded Youth Production Assistant (YPA) program. Since 2012, we have welcomed high school students to volunteer on productions, giving them the chance to gain hands-on experience while they earn their mandatory 40 volunteer hours. This year, thanks to sponsorship by Jane Aster Roe (an artist and former YPA), we have expanded this program into a fully-fledged training position which includes assessments, a certificate of completion, and a $400 honourarium to help offset travel costs or time taken away from other jobs or commitments. It is our hope that this training program will give students the chance to see what a career in the arts entails before they make the commitment of attending a post-secondary program or jumping into the workforce. We offer a supportive, encouraging environment which highlights the students interests and needs to create a position that is truly custom-tailored to them.
This season we will be selecting 2 students for our YPA program. Those who are not selected will still have the ability to volunteer on the production if they so choose.
Past participants have done things like:
Design and build a key prop piece for a show
Build and paint scenic flats
Learn how to run the tech booth and call the show
Learn how to create props and help track them through a show
Attend rehearsals and shadow the director
Create social media content
Work backstage as an assistant stage manager
Run the concessions or assist with front of house duties
Learn how to create a stage manager’s prompt book
Learn how to build a budget in excel, and how to track finances
If there’s something you’re interested in that isn’t on that list, let us know!
Requirements:
Must be enrolled in high school in Ontario (preferably the GTA)
Must be able to attend some rehearsals or events in Toronto (note: depending on the student’s interests, a large portion of this may be able to be completed remotely, however ability to attend some in-person sessions is required)
Must be triple vaccinated against COVID-19 (this is a requirement for all of our cast and crew this season)
Must be passionate about theatre and be considering pursuing a career in the arts
Enthusiastic and willing and learn!
Assets:
Strong English language skills
Experience in theatre production
Experience using social media for marketing and promotion
Strong organizational skills
Creativity
In addition to being interested in the typical theatre things (acting, directing, set design etc.) those with the following interests may find this position rewarding:
Visual arts
Fashion
Hair and Makeup
Writing
Business or Management
Mathematics
Construction
Graphic Design
Social Media
Video Production
Crafts
Teaching
This position will be highly tailored towards the participants interests and skills, so applicants should be honest in their cover letter about what they can bring to the position and what they hope to learn – in-experience is not a drawback! The purpose of this program is to give students hands-on training in a supportive environment and to help them prepare for further training or a potential career in the arts. Students will be taught a wide range of things like how to create a prompt book, call a show, sell and market a show, direction techniques and more, but their own interests and abilities will be what focus the majority of their participation. A series of short pass/fail assessments will be given to ensure the student has gained or advanced their skills, and they will receive a certificate of completion at the end of the program.
Diversity and Accessibility
Bygone Theatre encourages students of all backgrounds, skills and experience to apply: the number one thing we are looking for is someone with an interest they want to pursue. Bygone is run by English-speaking artists, and so the ability to communicate in English is required, however, ESL students are encouraged to apply as we prioritize finding tasks that benefit all involved and many roles will not rely heavily on English language skills. Bygone Theatre prioritizes the selection of marginalized artists, and encourages those who identify as BIPOC, LGBTQ2S+ and Mad/Disabled to apply: feel free to share in your cover letter any ways in which you identify, though this is completely optional. To learn more about our commitments to diversity and accessibility, visit our website, bygonetheatre.com/diversity-accessibility. If you will require us to provide any assistive devices for your participation, please let us know in your application.
We understand that marginalized people sometimes feel as though systemic barriers, or those specific to their identity will prevent them from participating in programs such as these. We highly encourage all those who have an interest to apply, and if there is a concern you have that you worry may disqualify you, please let us know. We are very open to adapting and finding solutions to ensure participation.
How To Apply:
Send a 1-page cover letter, resume, and the contact information for 1-2 references to emily@bygonetheatre.com. Your cover letter should focus on what you hope to gain from the program and what areas you are most interested in. Your resume can highlight experience and skills – don’t worry if it’s not robust, listing things like volunteer positions, personality traits (eg. Positive, focused) and any programs you know how to use (from Excel to TikTok!) is all helpful. References should be able to comment on your general attitude and commitment towards projects – teachers, coaches or bosses are appropriate, parents or friends are not. Please be sure to give a brief explanation as to what the relationship is and provide an email and phone number.
Slots for the YPA are limited due to our limited funding, however volunteer positions are always available. Those who are not selected for the YPA may still choose to volunteer for their mandatory 40 volunteer hours required to graduate.
It’s here – the last weekend of the 2022 Toronto Fringe Festival. People are buzzing about shows, and reviews have been posted. You want to plan your weekend of Fringing, but where do you find the information?
That’s where this list comes in. It’ll help you connect with the buzz and find the publications publishing reviews.
Twitter is where it’s at this year
Twitter is the main information hub this year. Not just for general buzz, but reviews too. In some cases, it’s the only place people are publishing mini-reviews. (Still longer than those old Eye reviews, amirite?)
But don’t just rely on the hashtag. It’s easy to forget to add it to a tweet, and some folks aren’t using it at all. If you have a Twitter account, follow the folks listed below. Then, periodically check the #fringeTO hashtag to see what others are saying.
Speaking of hashtags, keep an eye on #TheaTO for news and reviews of Toronto theatre the rest of the year.
Don’t have a Twitter account but still want to see the reviews? No problem. Unlike Facebook, Twitter lets anyone see tweets, account or not. Start with any of the accounts listed below, and you’ll be good to go.
A final thought: The landscape is full of amazing people busting their asses to get the word out. Many for without being paid. All the reviewers deserve support. But please be sure to click on articles from publications paying their writers.
It’s how we show them coverage is valuable and it’s important they continue to pay writers to provide it. As readers, clicks and shares don’t cost us anything, but they send the message to publications that we’re reading the content and it’s important to us.
Now for what you came here for, check out the list of reviewers after the jump:
Bygone Theatre 