It’s that time again! Bygone Theatre is holding auditions for its upcoming production of LOOT – here’s everything you need to know;
WHAT: Loot, by Joe Orton, directed by Emily Dix
WHEN: March 8-17th, 2018 (11 performances)
WHERE: Alumnae Theatre mainstage
SYNOPSIS: Only hours before her intended burial, the late Mrs. McLeavy is removed from her coffin by her son, Hal, and his best pal, Dennis, who have together just robbed a bank and need the coffin to stash the loot. Absurdity abounds in the dark, 1965 farce that examines attitudes surrounding death, police integrity, and the Catholic church.
This production is non-union, profit-share, and eligible for the Dora Awards.
All characters require the use of a British accent and excellent comedic timing.
HAL – early 20s, British, gay, the son of the recently deceased, full of Catholic guilt
DENNIS – early 20s, British, a sexual deviant & an undertaker
FAY – mid to late 20s, British, a nurse, says she’s a devout Catholic, uses her sexuality to manipulate men
MR. MCLEAVY – middle aged, British, a recent widower, old-fashioned, a devout Catholic, concerned about his son
INSPECTOR TRUSCOTT – middle aged, British, the bumbling police detective, not above bribery and violence, embodies every negative stereotype of the police force
MEADOWS – 20s-30s, a police officer (minor role)
WHAT TO DO: Email director Emily Dix (email@example.com) with your headshot and artistic resume, and the subject line “Loot Auditions” to request an audition
WHEN: Auditions will be held on Friday December 8th and Saturday December 9th; callbacks TBA.
WHERE: Audition location will be sent to those selected for an audition
Will take place in January and February on evenings and weekends. Expect a total of 80 rehearsal hours before getting into the venue (exact schedule is made up after casting to accommodate as many people as possible).
Tickets are now on sale for our upcoming production of His Girl Friday!
The show runs March 2-5, 2017 at the Aki Studio, Daniel’s Spectrum (the new Native Earth facility). Tickets are available for purchase online or in the Aki Studio box office; follow this link for more details, or to make your purchase.
Bygone Theatre’s Holiday Auction is just around the corner! We’ve got something for everyone, with some bids starting as low as $5. Wide range of items including theatre tickets to shows produced by Buddies in Bad Times, Scarborough Music Theatre, Hart House Theatre, Crow’s Theatre and Mysteriously Yours Dinner Theatre; vintage items from Tucked Away Antiques like signed photos of classic Hollywood stars and vintage movie posters; charming themed gift baskets; getaway packages to New York, Tuscany and Sonoma, and much more!
Proceeds go towards our upcoming production of His Girl Friday, running March 2-5, 2017. This is a big show with a big cast – 18 actors! – and so we have a lot of work to do. Help support local theatre while doing your Christmas shopping from the comfort of your own home! Auction runs online from 9:00am Thursday December 8th to 2pm on Saturday December 10th – bid at bygonetheatre2016.eflea.ca.
Bygone Theatre is holding auditions for its March production of HIS GIRL FRIDAY, running March 2-5, 2017. Directed by Emily Dix.
This is a non-union, profit-share production.
HIS GIRL FRIDAY
Screenplay by Charles Lederer
Based on the play “The Front Page” by Ben Hecht and Charles MacArthur
Adapted for the stage & additional dialogue by Craig Dix
Aki Studio, Daniel Spectrum, 585 Dundas St. E., Toronto
Wheelchair Accessible | General Admission
This iconic screwball comedy tells the tale of Walter Burns, a hard-boiled newspaper editor who learns that his ex-wife, “newspaper man” Hildy Johnson, is going to give-up reporting to marry a bland insurance salesman from Albany. Determined to sabotage these plans and keep Hildy with the paper (and himself), Burns convinces her to cover one last story; the execution of cop-killer Earl Williams. Things quickly spiral out of control and Burns and Hildy find themselves tangled up in the case, and each other’s lives. A hilarious look at the struggle to balance life and love.
Bygone Theatre is holding auditions December 2 & 4, 2016. To request an audition slot, please send your headshot and artistic resume to director Emily Dix (emily@bygonetheatre). Those selected for an audition will be given a chance to sign up for a slot. Please note that this is a non-union, profit-share performance.
We are casting for the following characters; please note, we encourage submissions from actors of diverse cultures and backgrounds. Some smaller roles may be doubled, as indicated.
Hildy Johnson: female, age 27 – 35
Walter Burns: male, age 30 – 37
Bruce Baldwin: male, age 27 – 35
Maisie/Jeanie: female, age 20 – 25
Diamond Louie: male, age 25 – 40
Duffy/Dr. Eglehoffer: male, age 35 – 60
Pete Davis/Doctor/Deputy: male, age 30 – 60
Murphy: male, aged 25 – 40
Bensinger: male, aged 25 – 40
Endicott: male, aged 25 – 40
McCue: male, age 25 – 40
Warden Cooley /Lieutenant/Policeman: male, aged 25 – 40
Earl Williams: male, age 35 -60
Mollie Malloy: female, age 20 – 30
Sheriff Hartwell: male, age 35 – 60
Mayor: male, age 35 – 60
Joe Pettibone: male, age 35-60
Gertrude Baldwin: female, age 25 – 35
Please visit the show page on our website to download a copy of the script.
How did you first get involved with KSK?
I met Jamieson Child back in late summer/early fall of 2014, when he auditioned for Rope. We hit it off in rehearsals right away, and at some point KSK came up in conversation. I remembered hearing about it when it was in Fringe a few years ago, and as I was looking for something to take to the NYC Fringe in the summer of 2015, I wanted to learn more. He had me read the script in October and I knew right away I wanted to help expand the show and bring it to New York.
What drew you to the project?
A few things. For one, it fit with Bygone’s style & mandate; a period piece, kinda dark & funny, and it was very closely tied to film as it’s inspired by vintage exploitation cinema. As well, I LOVE musicals, and really wanted to be involved in one again. Then of course there is my twisted love of cult & exploitation cinema, and I was excited by the fact that there were these 2 talented & crazy brothers who were just as into that stuff as I was, and who had taken that passion for the genre and put it towards building a really unique play. We hit it off early on and I thought we all had great complimentary skills. It just seemed like a good fit all around.
Describe your work as dramaturg, what does that entail?
It’s basically a fancy word for saying that I have to be aware of every creative aspect of the show, and that I am there sort of over-seeing the creative process. I met with Jamie & Drac a lot in the early stages and we worked out script stuff, expanding the story, breaking down beats, talking about music styles etc. Then, as we got into producing, I had to have a knowledge of the inspiration for the show to make sure that it was coming across in the marketing & overall production; being aware of the time period, the filmic references, all of that. Now, in the rehearsal stage, it’s being there to help support J with providing extra info for the actors. Being able to give period references to help fill out some gaps, to give them a strong background so they have something to build their characters off of. It’s about as broad and all encompassing as producing is, but for the other side of things.
What do you do as producer?
Everything. There are roles that are specifically mine, but at the end of the day the number one thing is making sure that everyone else is doing their job too, and stepping in to do it myself if they aren’t. As for my regular stuff? I’ve written up contracts, coordinated with the Fringe and the venue, assisted in casting & hiring, written up budgets, organized fundraisers & funding campaigns, made some posters, designed a website, worked on promoting, scheduled production meetings – you name it, I’ve done some part of it. And then I’m stage managing as well, so there’s some cross over. With that I get to be in rehearsals working closely with J the director and the cast. Really all the roles I’ve taken on just require a lot of overseeing and organizing, so while it’s an INSANE amount of stuff to get done, it actually gets a bit simpler the more I take on, because there is a lot of overlap.
What are some challenges that you’ve had to overcome?
When you’re working with artists there’s always a lot of passion & energy brought to every conversation, which is almost always good. It can make for some loud fights and big clashes though, now and then. Plus, this is a big show for a lot of us. Taking something out of city adds so many additional challenges (and costs) that it makes for a lot more stress than a usual show, and that can put a strain on relationships. I’m used to being the one directing Bygone shows as well, and so it’s a new process having to step back from that while still managing all the other stuff – not bad, but very different.
What has been your favourite part of the process so far?
Working with incredible people. I know, it sounds like a cheesy answer but it’s really true. I knew very early on that Jamieson was someone I wanted to keep working with, and he’s been a great co-worker & friend, so that’s been great. And everyone we have brought on along the way has not only been really talented but a lot of fun too. While some have gotten tense, a lot of production meetings have been filled with laughs and good times, and I’m sure as everything falls into place we’ll see more of that. I’ve always said of any show I’ve directed that I think what’s made it is having a great cast, not just in regards to talent but personality too, and I’m very happy that the same result has happened here.
Any good rehearsal anecdotes to share?
When you spend a lot of time around a small group of people, you naturally begin to let your guard down, and when you’re an artist that usually means you start to get a little weird… I couldn’t tell you how exactly it started, but for the longest time our 2nd act opening number was called “The Timbit Song” (now “Fear City”). It came about somehow when we were discussing the potential issues of a Canadian show in a US venue, and I know that we had the music down but not the lyrics. Jamieson started improvising about what the character Ronnie could sing and (brilliantly) came up with “What’s a timbit? I want a timbit! Have a timbit, what’s a fucking timbit?” and for whatever ridiculous reason that stuck so long that we now have many very formal, serious looking correspondence talking about the “Timbit Song”.
Why should people come and see the show?
This really is a unique production. The show itself is unlike any other musical I’ve seen, and it’s a lot of fun to watch. We’ve got a really talented cast & crew of young Canadian artists, and our band is made up of some very experienced (Broadway-level) NYC musicians.
How can people help support the project?
If you’re in NYC August 26th-30th, come see the show! Tickets can be purchased online. And if you can’t make it out to see it live, you can still help support the show by making a donation – every little bit helps!
On Thursday May 14, 2015, Bygone will be presenting the 5th show in the retro radio series, Retro Radio Hour – Spring Fling. We are back at the SoCap and as always, tickets are only $5 cash at the door. This week’s show features; Emily Dix, Matt McGrath, Elizabeth Rose Morriss, Ian McGarrett, Mikey Zahorak, Peter Grant Mackechnie, Nicole Byblow, Astrid Atherly and Joseph Vita with magic by Leigh Beadon.
I came across an interesting Business Insider article today on the costs associated with working as an actor; even as someone who is well aware of the small return on a huge investment (of both time and money) I was shocked by some of the numbers.
Consider the cost of training and promotional materials, for one;
School: some go the 4 year BA route, which will cost about $20 000 in total, but even if you are forgoing traditional education for workshops or conservatory programs, expect to spend thousands here.
Headshots: these are essential for any actor and can cost a pretty penny. Expect $500+ to have them shot, plus the cost of printing. It isn’t unusual to spend close to $1000 for good quality headshots, and then of course they need to be updated whenever you change your look.
Personal Website: while free avenues like facebook and wordpress are frequently used, a lot of people choose to have a custom domain name as well; add another $100 or more a year for this.
Then of course there is the cost of any additional training you do along the way, things like haircuts, makeup etc. to keep you looking pretty, expensive dance shoes – you get the idea. It’s not cheap. And there is really no guarantee of a return.
It was the author’s salaries in the article though that really caught me by surprise; even at the high end, performing at Madison Square Garden in a multi-million dollar performance, the author was only making $527/week. $527/week for 52 weeks in a year is a whopping $27 404 annual salary; not exactly a celebrity lifestyle. Plus, consider the fact that not only do most actors not get big gigs like that, but the majority of actor’s contracts are not for a full year. So even if you’re raking in big dough for the duration of your contract, you may need to stretch 2 months of pay over an entire year.
The author was only making $527/week. $527/week for 52 weeks in a year is a whopping $27 404 annual salary; not exactly a celebrity lifestyle
Our upcoming production of Rope is certainly small budget compared to the shows mentioned above, but it’s still a considerable amount of money for those of us who are funding it while working minimum wage jobs. Our overall budget is $4500.00, and that does not include paying the actors. You can see a detailed breakdown of our budget on our FWYC campaign page. As someone who is certainly used to working for no pay (I put hundreds of volunteer hours over 6 years into theatre work on campus before finally getting a paid, part-time position this year) I went into this knowing I likely couldn’t pay anyone involved, but still feeling really guilty about it. So that’s why we started a Fund What You Can Campaign.
Our goal is to raise the entire cost of our production – $4500.00 – so that any money we make on the show itself can be split among the cast and crew. Of course there is no guarantee of ticket sales, but if we were to sell out all of our shows we could potentially be paying everyone about $380; not a Broadway level salary, but it’s a start. To put that further into perspective, all of actors are putting in about 14 hours of performance time plus 40-60 hours of rehearsal time. So let’s say that they are working a conservative 54 hours and make at the very most $380; that’s still only $7/hour. Considerably below minimum wage.
Our goal is to raise the entire cost of our production – $4500.00 – so that any money we make on the show itself can be split among the cast and crew…that’s still only $7/hour. Considerably below minimum wage.
As a producer it is important to me to put on a successful show and to compensate those involved. As an artist and student myself, I do not have the money to do that on my own. That’s where you come in. By making a donation to Rope you will be helping to further the careers of 8 talented actors, our wonderful stage manager and Bygone Theatre itself. Every little bit counts and gets us one step closer to realizing our dreams while earning a decent wage.
Check out our Fund What You Can Campaign for Rope to make a donation to the production.