CREW CALL – Wait Until Dark

Bygone Theatre is currently looking to fill several paid and volunteer positions for our upcoming productions. We have roles available for both experienced arts workers and for those interested in getting their feet wet; high school students may apply for some of these. Check out the details below, and contact Executive Director Emily Dix at emily@bygonetheatre.com with any questions.

Want to get involved but don’t see something that quite fits? Give us a shout, we are always happy to meet with new people and find ways to involve those who are interested.

WAIT UNTIL DARK – MAINSTAGE PRODUCTION, APRIL 2016

We are currently accepting applications for crew members for our upcoming production of Wait Until Dark. We are looking for the following;

Stage Manager: 
Duties & Responsibilities:

• In charge of booking rehearsal space & coordinating with cast & crew for all meetings & rehearsals
• In charge of creating a detailed prompt book and coordinating with the designers and director to ensure all necessary items are purchased and accounted for
• Assisting the director in rehearsals, taking notes as needed
• Calling the show
• Other tasks as required

Skills & Requirements:

• Excellent attention-to-detail & multitasking skills
• Reliable access to a method of communication, be it email or phone, and able to provide prompt replies
• A firm but patient & polite demeanour
• Previous stage management experience is necessary, experience in a site-specific location is preferred

Tech Director
Duties & Responsibilities:

• Creating & programming sound and lighting design for the show
• Working with the director to achieve her vision, while offering creative input and feedback
• Securing any required technical elements (eg. renting equipment, ensuring there are enough extension cords, securing sound effects, etc.)
• Coordinating with the stage manager for tech and performances

Skills & Requirements:

• Creative individual willing to work together with the director in the creation of all technical elements
• Strong knowledge of technical requirements and programs
• Preference given to those who are able to assist in running the tech, as well as doing the design and set-up

Set Designer
Duties & Responsibilities:

• Creating detailed technical designs and orchestrating the creation & load-in/set-up
• Working with the director to achieve her vision, while offering creative input and feedback
• Assisting the director & producer with creating a detailed budget for the set that stays within the overall show budget
• Coordinating with the stage manager and technical designer for the build, load-in and tech, as required

Skills & Requirements:

• Previous set-design and construction experience
• Strong knowledge of various building supplies and techniques
• Able to creatively design and construct a product that fits both the creative design and stays within budget
• Must be available to build the set and assist with the load-in and strike

To apply, send a brief cover letter and resume to director Emily Dix at emily@bygonetheatre.com.

This is a non-union, profit-share production. Lead positions  also include an honourarium; email for more details.

Deadline for crew calls is February 1, 2016 at 5:00pm. Applications will be reviewed as they are received and an appropriate candidate may be accepted before the deadline; early applications are encouraged.

Check out our other blog post for assistant & volunteer positions.

 

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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.

Toronto Fringe 2013 – Bygone’s Fringe Picks

There are so many shows in the Fringe each year and it really is impossible to see them all. When you work in the arts, chances are you know at least a dozen people involved in the fringe, and for me that’s what determines which shows I go to see. So here are my (admittedly slightly biased) picks for this year’s Toronto Fringe:

1. “Teach Me” – Newborn Theatre: George Ignatieff Theatre
Written by my friend Rachel Ganz, I am stoked to see this show. I read the very first draft months ago when she started, and it was great then; I’m sure by now it’s evolved into something even better. Rachel has been accepted to National Theatre School for Playwrighting in the fall, so you know she’s one to watch out for. I was lucky enough to direct her one-woman-show “Plasterface” back in November, and I know her work always leaves a mark. If you’re looking for a bizarre, compelling story with hilarious and unbelieveably natural dialogue, I recommend this one.

2. “Excuse You!” – Theatre On A Thought: George Ignatieff Theatre
Bygone’s Producer, Matt McGrath is performing in this piece by Bryce Alexander Dudley. This show has already ended up on lots of “Fringe Picks” lists, and with good cause – a collection of stories about the hilarious world of customer service in the arts. Certainly something all of us can relate to, and sure to be a laugh!

3. SQUAT: A Super-Secret Back-Alley Musical – Watch The Elbow Productions: Site-Specific, CineCycle, 401 Richmond St. W
I’m psyched to see this site-specific musical because it’s got some amazing performers in it: Elizabeth Rose Morriss was one of our lovely performers in Retro Radio Hour, and Victoria McEwan and Colin Asuncion were in the production of “Hairspray” I did a couple years ago, as Tracy Turnblad and Seaweed. Plus what’s not to love about a site-specific musical? I’m interested to see how they tackle this one.

4. “Monstrous Regiment” – Socratic Theatre: Site-Specific, Paupers Pub, 539 Bloor St. W
Another site-specific show, this one features two of our “Dial M For Murder” actors, Jason and Rebekah Manella. A lot of what you see at Fringe is original works, which is great, but sometimes it’s just as fun to see a published show like this one, especially when it’s been adapted for a site-specific location, and shortened to fit the time slot. I’m excited to see them pull it off!

So these are the first ones on my list – I’m hoping I’ll get to see a lot more as well. See one you like? Let us know in the comments. And stay tuned for reviews on these and maybe more!

-E.

Review: The Unseen Hand – Theatre Brouhaha, The Playwright Project

I had the pleasure of seeing Theatre Brouhaha’s “The Unseen Hand” last night at the Magic Oven.The show was directed by Kat Sandler and starred Scott Clarkson as Blue Morphan, Rick Jon Egan as Cisco Morphan, Tom Darcy McGee as Sicamore Morphan, G. Kyle Shields as the Kid, Kevin Ritchie as Willie, and Alexis Budd on guitar. The play was a part of the Playwright Project, this year focused on works by Sam Shephard.

I’ve gotta say, I’m usually a pretty harsh critic, but I’d give this piece a 8/10. While it was a little slow to get going, all the actors had great chemistry, amazing energy, and near perfect comedic timing. The costumes were well thought out (something I tend to be extra critical of as I do costuming myself), and the set was great considering the space restrictions and the changing venues.

Sandler did a good job of working with a very small space and a technically limited venue. While the actors were practically in the audience’s lap, there were very few points when it was difficult to see (some of the moments with actors lying on the ground were missed by those of us sitting further back, but such is the nature of theatre in found spaces). The movement was stylized, posed, and very well suited to Shepard’s bizarre script.

Kudos goes to Kevin Ritchie for what looked like an absolutely exhausting performance: his raving speech early in the piece was especially impressive (though disturbing!).

All the actors had great comedic moments, but what punctuated the humour best was the musical score provided by Alexis Budd. Perfectly timed strummed chords and great Western tunes helped to define a show that had to work within a lot of restraints. The very catchy mashup of Rawhide & Ghost Riders In The Sky that they used for their curtain call was especially fun.

I won’t spoil what was the most bizarre and visually interesting point in the play, but I will say, I loved the ping pong balls 🙂
The Unseen Hand is playing until Tuesday May 7th at various locations across Toronto. For more info, check out this.