Bygone Theatre’s 2017/18 Season

FOR IMMEDIATE RELEASE:
TUESDAY SEPTEMBER 26, 2017

Bygone Theatre Announces its 6th Season

TORONTO, ON (Tuesday September 26, 2017) – Now entering their sixth season, Toronto based, indie nonprofit, Bygone Theatre announces their season lineup, which includes a classic 1965 British farce, a unique night of vintage Vaudeville, and the World Premiere of a new Canadian play.

Loot Front 4_x_6

LOOT by Joe Orton
Directed by Emily Dix

England, 1965; Only hours before her intended burial, the late Mrs. Leavy 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 timely classic will run from March 8-17th (11 performances) at the Alumnae Theatre, 70 Berkeley St., Toronto. Casting TBA late 2017.

3.5"x2" Business Card Template

JOE by Rachel Ganz

England, 1967; Joe and Kenneth live together. Following their experience in jail for a crime they believe was just an excuse to criminalize their homosexuality, Joe and Kenneth begin planning for their future. Kenneth believes they should break up to avoid further persecution but Joe believes they should die together as a desperate statement against policy. As Kenneth attempts to leave, Joe attempts to die. The domestic dispute exemplifies the ways in which public policy can affect private living and the small flat the men share fills with tension until Kenneth kills Joe with a hammer. Inspired by the real-life murder of playwright, Joe Orton.

ABOUT RACHEL GANZ: Rachel Ganz is a Toronto-based playwright. She is a recent playwriting graduate from The National Theatre School as well as the Artistic Director of Newborn Theatre and the Co-Creator of The Odds and Ends Festival. Works include: Blip/I Didn’t Need To Know You (Newborn Theatre, 2017), Plucked (Newborn Theatre, 2016), Vacuum (The National Theatre School, 2016), The Dumb War (Newborn Theatre, 2015), Teach Me (Newborn Theatre, 2014), Rhyme Reason or Otherwise (Hart House Players, 2014), Plasterface (Newborn Theatre, 2014), The Long Run (Sunnybrook Hospital/Newborn Theatre, 2014).

Staged Reading – April 8, 2018, the Social Capital Theatre, 154 Danforth Ave., Toronto

World Premiere – June 21-23, 2018 (limited engagement, 5 performances), the Alumnae Theatre Studio, 70 Berkeley St., Toronto

VAUDEVILLE REVUE – in partnership with the Revue Cinema

A one-night-only performance of vintage Vaudeville acts combined with classic silent films. Exact date TBA.

Visit http://www.bygonetheatre.com for details and updates on casting.
Tickets: available at http://www.bygonetheatre.com/tickets
Media Contact: Artistic Executive Director Emily Dix, Emily@bygonetheatre.com, 647-343-5965

Advertisements

Crew Spotlight: Emily Dix

25.pngEmily Dix is the Artistic Executive Director of Bygone Theatre, and is directing, stage managing, designing and producing His Girl Friday. Emily has produced all of Bygone’s shows and directed 5 of the 6, with this now being her 7th.

Bio: Emily Dix is a Toronto based theatre artist, a “jack of all trades” who has worked as a director, producer, stage manager, set & costume designer and performer. In 2008 she moved to the city to attend UofT and quickly became involved with companies on campus, like Victoria College Drama, the UC Follies, St. Mike’s Drama and Hart House Theatre. In 2012, she founded Bygone Theatre, a company which she still runs today as the Artistic Executive Director. Emily has worked as a producer for Theatre 20 and as the assistant producer at Tarragon Theatre, as well as a production assistant for Poculi Ludique Societas, the PR Manager for the Social Capital Theatre, and numerous other freelance positions. In addition to her work in theatre, Emily is a vintage lover and avid collector. She owns an Etsy shop, Tucked Away Antiques, that specializes in small vintage items and digital downloads. Emily has also dabbled in design, making web sites and posters for local artists. For past credits and more information, visit her website, www.emilydix.com.

What made you want to mount His Girl Friday?

While not a conscious decision, I realized that all of the shows Bygone had mounted so far were either dramas, or at the very least rather dark comedies. I never intended for us to stick to style like that so when I was planning our 2016/17 season I knew I wanted a comedy. I had a list of several that had caught my eye, but one day I stumbled across a list of films that were currently in the public domain, and couldn’t believe His Girl Friday was one of them! I was going to write the adaptation myself, but my uncle, Craig Dix, had recently sent me a radio of script of his he’d done, so I asked him if he’d like to do it, and the answer was an enthusiastic “yes”. It’s a great story, with a large and diverse cast, strong female lead AND in the public domain – how could I not want to put it on?

What do you love about the show?

It really is very funny. I love the fast-paced dialogue and the opportunity for cheesy, over-the-top humour. While there are certainly complications with having such a large cast, I did want to be able to include a lot of people, so the size of it appeals to me as well. Plus, I love stories that include a great romance, without it being the central part of the story. It keeps things endearing but not sappy, and makes for a plot everyone can enjoy.

Which role – director, producer, designer, stage manger – have you found most challenging? Why?

I think with this one, I’d have to say director, simply because of the size of the cast. While I did the first round of auditions very early December, it took a very long time to get everything cast; I’m glad I held out for the right actors, but it has been stressful not having the whole group. As producer, it’s always stressful because there is a lot of money on the line, but I feel like I’ve done it enough by now that I have a pretty solid idea of what it takes, and just look at past show reports to calm myself when I start worrying about whether we’ll be able to make rent.

What has been the most rewarding part of the process so far?

Seeing the advances the cast has made. Like I said, big show, lots of fast-talking dialogue, it’s not an easy play. It’s exhausting, especially for the leads. But I’ve got an amazingly talented cast, and every rehearsal they’re leaps and bounds above where they were before, so it’s super fun and rewarding to see them get comfortable in their roles and play with a lot of the silliness that is there in the script. It’s going to be a funny show.

Why should people come and see the show?

It’s so much fun. Fast-paced, goofy, it’ll have you laughing and on the edge of your seat. Not to mention we’ve got a huge cast, so if you’re in the local theatre scene, chances are you know someone involved! Come out and support Toronto Theatre.

Anything else we should know?

Sadly, it’s a very limited engagement, just one weekend. So there are only 5 chances for the public to come and see the show; Thursday March 2, 8:00pm; Friday March 3, 8:00pm; Saturday March 4, 2:00pm and 8:00pm; Sunday March 5, 2:00pm. We encourage you to buy your tickets in advance, which can be done through the Native Earth box office, at www.nativeearth.ca/hisgirlfriday. Hope to see you there!

AUDITIONS – His Girl Friday

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

VENUE
Aki Studio, Daniel Spectrum, 585 Dundas St. E., Toronto
Wheelchair Accessible | General Admission

SYNOPSIS
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.

AUDITIONS
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.

CHARACTERS
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.

Bygone Theatre Presents Frederick Knott’s WAIT UNTIL DARK

Bygone Theatre presents…

WAIT UNTIL DARK
written by Frederick Knott
directed by Emily Dix

April 14-16th, 2016 – limited run, only 5 performances
Tarragon Theatre Rehearsal Hall, 30 Bridgman Ave.

SYNOPSIS:

A sinister con man two ex-convicts are about to meet their match. They have traced the location of a mysterious doll to the Greenwich Village apartment of a young photographer and his blind wife. Persuaded by a strange woman to transport the doll across the Canadian border, the photographer has unknowingly come into possession of the thousands of dollars worth of heroin sewn inside. Through a cleverly constructed deception, the con men convince the wife that the police have implicated her husband in a murder and that the doll is key evidence. However, with the help of a young neighbor, the young woman figures out she is the victim of a bizarre charade and realizes that her only chance of survival in this deadly game of cat and mouse, is to plunge all those involved into the total darkness that only she knows how to navigate.

STARRING:

Shannon Lahaie
Shannon Lahaie
as Susy

Shannon Lahaie is an actor, writer, and sketch comedian living in Toronto, Ont. She can be seen in the films `Think Deep“ (Digital Dimensions), “The Talent Scout“(Cinematik Kitsch), and “Ìnsane“(Stormdust Pictures) – which has been screened at over 35 Film Festivals throughout North America, earning her a Best Actress nomination at the FilmQuest 2014 Festival. She also performs and writes with her sketch comedy troupe Dame Judy Dench, whose recent show `That`s Just 5 Kids In A Trench Coat“ received NNNNN in NOW Magazine. She is thrilled to be a part of this great cast and to work with Bygone Theatre.

Mark Nocent
Mark Nocent
as Mike

Mark Nocent is a Honours Graduate from Humber College’s Acting for Film and Television Program. A resident of Toronto, Mark has found success in commercials, short films, notably the short “W4M”, part of an ongoing web-series by 9 Light Entertainment, and indie features, notably “Smoke it” which is currently in Post Production. On stage Mark has run a gamut of Musical Theatre, Sketch Comedy, and traditional plays, most recently touring the 2015 Fringe with the show ‘MARS’, written by Jayson McDonald.

EricMiinchAscot

Eric Miinch as Roat

Eric Miinch attended the University of Windsor where he graduated with an Honours BFA. He is a graduate of The Toronto Second City Conservatory and has performed in every major city in Canada. Recent credits include: The Village Green (Applebox Film Company), You Detective (Toronto Fringe), Finding John Stooge (EggMilk Productions).

Dave Walpole
Dave Walpole as Carlino

Dave Walpole was born August 11th, 1986 and stems from Hamilton, Ontario. Not an ordinary kid growing up, Dave was born with a congenital heart defect for which he had to have two surgeries at the ages of 4 and 5. Dave was always the class clown and soon began to stretch his talents by doing more comedy and drama. During high school he played a small part in the Wiz, and was the captain of the school’s improv and sketch team. After high school he took his training to Humber College for Comedy Writing and Performance. There he learned from SNL’s Robin Duke, and Second City’s Alan Guttman. Upon finishing the program, he went to work on Royal Caribbean Cruise lines, hosting dance parties, and activities. Aside from also being a stilt walker in the ship parades, Dave Walpole and his partner Patrick Carolan formed “The Blues Brothers Released”, a tribute band to the Blues Brothers, where he performed as Elwood Blues for Royal Caribbean and Carnival Cruise Lines. Since his departure from the ship life, Dave Walpole has been in numerous projects such as Dumb and Dumber To, CNN’s new series Race For The White House, The Volunteer by Rosco Films, and Civil War Chronicles, soon to be released for the American Heroes Network. Currently the host on YouTube’s InformOverload, FTD Facts and his personal project The Ivy Show featuring him and his loud mouth long haired chihuahua named Ivy. Currently he is slated for a feature film The Weekend by Livingston Studios.

Abby Strachan
Abby Strachan as Gloria

Abby Strachan was born in Toronto and has loved to perform for as long as she can remember. She has been involved in many small theatre productions and school plays as well as Mirvish’s production of The Railway Children. She was the recipient of the Karen Kain School of the Arts Drama Award, and currently majors in theatre in her high school. She is very excited to be playing Gloria in Wait Until Dark.

Andrew Lorimer Headshot
Andrew Lorimer as Sam

Andrew Lorimer is an actor originally from Sault Ste. Marie, Ontario. He made the move to Toronto three years ago after being accepted into the George Brown Theatre School. Some of his notable roles include: Benedick in Much Ado About Nothing, Rosencrantz in Rosencrantz & Guildenstern Are Dead (Quonta Drama Festival Adjudicator Award for Youth and Theatre Ontario Outstanding Juvenile Award), and George Gibbs in Our Town (Quonta Drama Festival’s Bob Sproule Award). He also had the very exciting opportunity to work with the Theater Reconstruction Ensemble in New York City, exploring the text of Hamlet to create new theatrical work. Wait Unit Dark marks Andrew’s premiere on stage in Toronto.  

Ryan Kotack
Ryan Kotack as Officer Sully

Ryan Christopher Kotack is an actor and screenwriter. As an actor, his work has screened at international film festivals. His first feature film, IN THE HOUSE OF FLIES, gave Ryan Christopher critical praise: “newcomer Kotack delivers an admirably lived-in performance that make fully convincing characters’ growing sense of despair,” (Frank Scheck, THE HOLLYWOOD REPORTER).In addition to his work on screen, Ryan Christopher has written for Canadian Film Review, ACTRA Toronto’s Performers On Set Magazine, and short films NEW DOMAIN & MARS IS LAUGHINNG AT US, in association with ACTRA Toronto YEAA SHORTS and ReelWorld Film Festival. A University of Guelph Theatre Studies Alumni, Ryan currently is an advanced study of Meisner Technique (Adrian Griffin) at Fraser Studios. Ryan is grateful to be on stage with Bygone Theatre and cherishes the support from his friends and family. Catch Ryan Christopher Kotack in the television show REIGN (CW/CTV) this Spring.

Retro Radio Hour – Winter Wonderland

Retro Radio Hour – Winter Wonderland is just around the corner! This is the 7th in our radio series, another fun-filled evening of vintage radio plays, oldies music, magic & a Christmas sale all in support of our mainstage season. The show is playing at the Imperial Pub, 54 Dundas St. E (Yonge & Dundas) Friday November 27th; doors open at 8pm. Tickets are $10 and can be purchased at the door.

This month’s show features…

Elizabeth Stuart-Morris – Bygone’s Chair
Elizabeth makes her Bygone performance debut this week. Come see the lovely lady who’s been hard at work behind the scenes. You may have seen her in other performances in Toronto, like the recent Summerworks production of Seams.

Leete Stetson – Bygone’s Vice Chair & Past Performer
Leete has been a part of Bygone since its beginning. He starred as Tony in Dial M For Murder and as Brandon in Rope, as well as having participated in past radio shows.

 Emily Dix – Bygone’s Artistic Executive Director
Emily usually works behind-the-scenes, directing and producing Bygone’s shows, but she has performed in every one of our radio shows to-date.

Matt McGrath – Bygone Founding Member
In addition to working on the production side of Bygone’s shows, Matt has been seen onstage in previous radio shows, and as Kenneth in Rope.

Ian McGarrett – Past Performer
Ian made his acting debut as Thompson in Dial M For Murder and since then has been a staple of Bygone’s radio series. He also played the role of Dr. Kentley in Rope.

Leigh Beadon – Past Performer
Leigh has been involved in the last few radio shows, performing his incredible magic/mentalist routine!

Michael Zahorak – Past Performer
Mike first joined Bygone as the composer for Kill Sister, Kill. Since then he has performed for several of our radio shows.

#BTradio #WinterWonderland

Kill Sister, Kill! Crew Spotlight – Producer Emily Dix

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!

Rope: Opening Weekend

On Friday Rope opened to a packed audience; our Opening Night Gala was a hit and the show was a smashing success. I’m so proud of all those who have been involved and it was wonderful to finally see everything fall into place onstage. This Saturday November 22nd we have two performances; a 2:00pm matinee, which as of late Friday night is 78% sold out and a 7:30pm evening show, which is currently 93% sold out. It’s great to have such full houses and we open the show is received well!

If you would like to get tickets to this weekend’s performance, check out TOtix.ca. Tickets can be purchased online up to 2 hours before the event. After that, tickets can only be purchased at the door; cash only, please.

If you are unable to join us for opening weekend, not to fear! Next Friday November 28th we have a 2:00pm PWYC matinee for Arts Workers and a 7:30pm performance. On Saturday November 29th we have a 2:00pm matinee and we close that evening at 7:30pm.

All photos courtesy of the talented Danielle Son; check out her website here: http://www.logosphotography.org/.

To see the rest of the production stills check out our facebook page.

More updates coming soon!
-E

“Rope” Opens in One Week!

On September 15, 2014, the cast of Rope met for our first read-through. After a single reading, I knew I had made the right casting choices. We had an incredibly talented group of actors, and thankfully, everyone got along from the start.

First read-through, September 15, 2014

First read-through, September 15, 2014

We got into rehearsals right away, and quickly started making interesting discoveries about the text. The onstage chemistry grew fast, and offstage new friendships started to form.

10710604_512572048879300_5753244984142753518_n

We put together an awesome fundraiser, Retro Radio Hour – Suspense! and got to see everyone’s comic side.

Jamieson Child, Nicholas Arnold, Emily Dix & Caitlin Robson

Jamieson Child, Nicholas Arnold, Emily Dix & Caitlin Robson

And a glamourous side as well.

1796741_522986401171198_957593629920706136_o

Retro Radio Hour – Suspense! cast

As the show progressed, and intensity grew, I started to get really pumped about the show. Despite seeing scenes over a dozen times, these guys were giving me chills. I knew we had something great.

In one week we will open at the Gibson House Museum. It has been 2 months of hard work but it has certainly been worth it. Don’t miss your chance to see this amazingly talented cast; Leete Stetson, Nicholas Arnold, Jamieson Child, Chelsey MacLean, Matt McGrath, Ian McGarrett, Elizabeth Rose Morriss and Caitlin Robson.

Join us for our opening night gala at 7:00pm on Friday November 21; show starts at 7:30pm. Tickets can be purchased in advance through TO Tix.

-E.

Rope – Cast Spotlight – Leete Stetson

Leete Stetson has worked on every Bygone show to date; he was music director and part of the choir in Doubt: A Parable, played Tony Wendice in Dial M For Murder and has performed in each of the Retro Radio Hour shows. Leete joins us again as the sinister Brandon Wyndham in Rope.

1. What first attracted you to  Bygone Theatre and this production of Rope?
The lovely and talented Emily Dix. To date, I think I’ve been involved in just about everything Bygone Theatre has done. Emily and I have many interests in common, one of which is Alfred Hitchcock who did a film adaptation of this play.

2. What challenges have you faced/OR/ what is your favourite part of working on a site-specific play that runs in real time?
My favorite part of working on play that runs in real time is that you don’t have to make up what happens to the character in between scenes. The biggest challenge of working on a play that runs in real time is that you don’t get to make up what happens to the character in between scenes.
3. What have you done to prepare for your role?
I’ve sat in the dark late at night and had deep conversations with the air about death and the futility of existence. Then, I’ve turned on the lights and read the script until I could say almost all of my lines in the right order.
4. What has been your favourite part of the rehearsal process so far?
I like the parts where I’m waxing philosophic with Rupert/Jamieson Child. He’s a good listener. My second favourite part of the rehearsal process is yelling at Emily when I disagree with her.
5. Why should everyone come and see Rope?
It’s not very often that you get to see a play in as beautiful a location as the Gibson House museum. It’s not very often that you get to see a play whose scope is as pinpoint-focused as one room, one evening. It’s not very often that you get to see a play with as talented a group of actors as Nicholas Arnold, Jamieson Child, Caitlin Robson, Elizabeth Rose Morriss, Matt McGrath, Chelsey MacLean and Ian McGarrett

 

Want to see more of Leete? Get your tickets to Rope through TO Tix.

Rope – Crew Spotlight – Director Emily Dix

It’s that time again! Time for our Cast and Crew spotlights for Rope. First up, Bygone Artistic Director/Producer and director of the show, Emily Dix.

1.What first attracted you to Rope?

I’ve been a Hitchcock fan since I was a kid. Growing up I had some darker interests and was always drawn to mystery and horror; my parents, worried I’d see too much gore too young, steered me towards the classics. As an adult I studied film at UofT, and the more that I watched Rope the more I was drawn to the story. One day, while watching the film with my co-founder Matt McGrath, I noticed a note in the opening credits; based on the play by Patrick Hamilton. I was thrilled. We looked up the play, found that, despite some differences, it was still amazing, and it’s been on my radar and to-do list since then. That was back in 2011.

2. What challenges have you faced working on a site-specific play that runs in real time?

A lot of the same issues that I had when we did Doubt back in January 2013; plays are written (generally) to be on a stage and to have SFX like lighting and sound. I wasn’t too concerned with this initially because I thought, well, real-time should look like real-life, what’s the issue? But being in a museum we do have a lot of limitations and things to consider. Also, ending a play that has a dramatic finish when you can’t simply “go to black” is a challenge. But we manage alright.

3. What have you done to prepare for your role?

As Artistic Director/Producer, preparing for my role basically means preparing the entire show. Over a year ago I started some basic design ideas and looked for venues. Once we had a venue and dates set, I finalized costume designs and started working on raising funds and casting the show. Now I’ve got rehearsals where I do all the basic directing stuff, I spend evenings doing admin things like balancing budgets and filling out the ticket selling paperwork, and then of course there is the marketing. A lot of time is spent on the computer. I spend hours daily updating social media, writing to the cast, contacting other companies to cross-promote, completing props lists, updating online event listings; no one task is particularly difficult but there is a LOT to do.

4. What has been your favourite part of the rehearsal process so far?

I love my cast. I say this every time, but it really is true. I think the best thing that I ever do for one of my shows is cast a group of amazing people; I’ve done it before and it’s happened again. Everyone is so unbelievably talented and they’re a really fun group. Despite working on a heavy play with some dark and very serious concepts, rehearsals are always fun and everyone is getting along. I always look forward to going to them and I never want them to end. It’s a great group.

5. Why should everyone come and see Rope?

Aside from all the usual things – amazing cast, beautiful costumes, and a phenomenal script – you should come and see Rope because it really is different from anything else you’re going to see in the city. The venue is unique and perfectly suited to the show. The play is not one that is done very often, so chances are no one else has seen it performed live (plus, we’ve made some changes as it is now public domain). Rope is unique because it addresses issues of morality, murder and equality without forcing them down your throat; it’s never preachy, it doesn’t talk at you about these things, it simply lets the audience in on a dialogue about it. Sitting right there amidst the party guests the audience is invited to join the conversation and make up their own minds, question themselves on what they would do if they were in that position. I think it’s a neat concept.

Rope run November 21-29th, 2014 at the Gibson House Museum. Tickets are $20 and can be purchased through TO Tix. Seating is extremely limited, to ordering in advance is encouraged. For more show information check us out on facebook or twitter, or see our website.