There are only 3 more chances to see The Rear Window at Hart House Theatre. Don’t miss the chance to see this “tight and tense adaptation, without a wasted beat”.
There are only 3 more chances to see The Rear Window at Hart House Theatre. Don’t miss the chance to see this “tight and tense adaptation, without a wasted beat” (Our Theatre Voice). Tonight, Wednesday, students can take advantage of $20 tickets.
“There’s mystery, excitement, danger – it has a bit of everything” (Alicia Plummer) but we must close Friday – get your ticket before it’s too late!
The idea to create a stage version of The Rear Window first came about many years ago. There’s no denying Hitchcock was the ultimate master of suspense for his time – many of the thriller tropes we now know so well were invented by him, and he essentially created and perfected a genre. However, the lingering influence of the Hayes Code, and the overall more conservative attitudes of the time made some aspects of his characters feel a little lacking.
The beautiful Grace Kelly felt more like a set piece than a fully fleshed-out character, and as brilliant as Jimmy Stewart was, the idea that he should be instantly trusted when he tells such a wild story always seemed a little off to me. I thought about what would happen if someone told me the same – I’d be thinking about how tired they were, the drugs they’d been taking, about the way your mind wanders when you’re bored and alone too long.
I found the source for the film, a short story called “It Had To Be Murder” by Cornell Woolrich, which had a male assistant named Charlie rather than a female love interest. While the overall concept of the story was excellent, it was clear why Hitchcock made major changes, and I too used it as inspiration rather than something to adapt.
When we first mounted this show back in 2019, a major inspiration was the ever-rising popularity of social media, and how watching intimate moments of people’s lives in bed on our phones can make us feel as though we know them. I’ve heard people discuss celebrities like they were real friends because of how closely they “follow” them and feel like they are getting an authentic experience. But just like Jeff sees people through only “one window, one lens”, we’re having a very crafted and curated look at these lives, even if they’re being made in a way to try and make viewers think they are authentic.
Since then, we’ve lived through the COVID-19 pandemic, dealt with sickness and isolation, boredom, and being forced to stay in our homes. The effects of the lockdown are still very evident, and I suspect they will continue to be for some time, and that too has now influenced the way we approached the story, and explored the way isolation can lead to depression, anxiety, irritability, and substance abuse.
Finally, I hope you’ll allow yourself to laugh at the funny moments, and I think there’s many. Thank you for joining us, and enjoy the show.
– Emily Dix, Director, Writer, Producer
The Rear Window continues Bygone Theatre’s ongoing research into the relationship between live performance and digital technology that began with our Digital Now grant from the Canada Council for the Arts and our production of The Yellow Wallpaper.
During the pandemic, many performing artists turned to digital technology to survive; at large companies, we began seeing livestreamed shows and in independent productions the use of Zoom. As we came back, we started seeing more companies experiment with projection design and livestreaming, integrating recordings and digital media into live productions and presenting live productions through digital means.
We thought the industry could do more to preserve two important parts of the theatre experience: the fact that theatre is a live experience and the relationship between performer and audience that comes from being in the same room.
In The Rear Window, all of the projections you see are live streams of live actors who are on stage, able to react to the audience and other performers and giving the actors you see up close and personal the ability to react, rather than respond to cues. Here’s how we did it:
(1) It starts with set design. Wesley Babcock was able to design us a set that only used half of the depth of the stage, which allowed us to use the other half for “mini sets”.
(2) Each mini set has its own camera (and one has two). In this case we used HD webcams, using simple USB ports. In the Yellow Wallpaper, we did the same thing but with more complex high-end media production equipment.
(3) The video feeds are input to a program called Madmapper, who have generously provided us with a license to do these sorts of research projects. Madmapper allows us to control the video feed and how it is output. We can change what the live feed looks like.
(4) We use two (simple & old) graphics cards to output video to four projectors throughout the stage. These are basic consumer-grade projectors that you might use at home. The projectors are mostly pointed at the back of our walls, with a canvas dropcloth (the ones you get at a hardware store) stretched over a window box.
(5) In Madmapper, our projection designer creates the shape of the window as a “mask” and overlays the video feed. We then just have to block the actors movements as usual and we have windows we can place anywhere on stage.
This process means that EVERYTHING you see in The Rear Window is acted live in front of you. Though this is the simplest version of this type of workflow, we think that developing inexpensive and easy to use methods we can reach new audiences and find new ways to tell stories.
Watch a behind-the-scenes video here:
Hart House Theatre presents the Bygone Theatre production of “The Rear Window”, written and directed by Emily Dix.
Hart House Theatre Presents the Award Winning Bygone Theatre Production
FOR IMMEDIATE RELEASE: TORONTO, ON (Tuesday, April 2, 2024), nominated for eleven and winner of four Broadway World Toronto Awards after its original 2019 run, Bygone Theatre’s The Rear Window is returning to the stage as our biggest production yet. Based on the short story It Had To Be Murder by Cornell Woolrich, the same tale that inspired the 1954 Hitchcock film, Rear Window (James Stewart, Grace Kelly), The Rear Window takes a new look at this classic tale of a “peeping Tom” who saw more than he wanted to see. A gripping, psychological thriller that will leave you guessing until the final moments whether or not what we’re seeing can truly be believed.
“(an) engaging and unexpected take on a story many of us thought we knew“
– Glenn Sumi, NOW Magazine
“a tense look into solitude and desperation…a strong thriller that takes cues from the best of the genre – and still finds ways to implant little
twists and turns to keep it fresh“
– Isabella Perrone, Broadway World, Toronto
Written and directed by Emily Dix (BWT Award Best Director: The Birds, The Rear Window). Starring Oliver Georgiou (The Birds, SODA Impro) as L.B. “Jeff” Jefferies; Kate McArthur (The Yellow Wallpaper, Macbeth) in her award-winning role as Lena Hall; Cayne Kitagawa (Alice in Wonderland, The Oresteia) as Charlie Thomas; with Antonino Pruiti (Beloved, Obliteration) reprising his role as the menacing Lars Thorwald. Featuring Simone Matheson, Rachel Frederick, Sean Jacklin, Trinity Lloyd, and Jacob Dowdall. Set and lighting design by Wesley Babcock; projection design by Bria Cole; assistant directed by Ayesha Maria Khan; stage managed by Julia Edda Pape. Assistant set designer Aria Kowal; assistant lighting designer Arianna Skirzynska; assistant scenic designer Athen Chloe Go; wardrobe assistant Olia Kashevarova. Produced by Conor Fitzgerald and Emily Dix; assistant producer Cass Iacovelli; producer-in-training Isabella Cesari. Made possible through a partnership with Hart House Theatre as venue sponsor and projection technology provided by Panasonic.
VENUE Hart House Theatre, 7 Hart House Circle, Toronto
SHOW DATES May 15-31| Wed – Sat at 8 pm, Saturday matinees at 2 pm
PREVIEW Wednesday, May 15 & Thursday, May 16
OPENING NIGHT Friday, May 17
TICKETS | www.bygonetheatre.com/tickets
RECOMMENDED FOR Ages 13+ | Mature themes, simulated violence
MEDIA CONTACT:
Selin Cinemre, Marketing & Outreach Coordinator, marketing@bygonetheatre.com
Emily Dix, Artistic Executive Director, emily@bygonetheatre.com
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The Bridge Offers Affordable Space for Artists in Toronto’s Entertainment District
FOR IMMEDIATE RELEASE: TORONTO, ON (November 21st, 2023) Bygone Theatre is thrilled to announce the launch of our new space, The Bridge, at 379 Adelaide St. W., 4th floor. This 7500sqft mixed-use art space is inhabited by Bygone along with partners UKAI Projects and Vodkow and will provide affordable rentals for artists looking for anything from a self-tape studio to a rehearsal space, a performance venue and more. As well, our eleventh season will feature the return of one of our award-winning plays; an expanded business and financial literacy program; and several fun workshops and events.
The art world, like everything else, is in a period of profound transition. The Bridge is a space for research and experimentation on how to best respond to these changes and to make art that engages audiences in the shifts underway.
As a response to the rapidly increasing cost of living, The Bridge is committed to providing artists space at hourly rates that are below minimum wage. “Affordability is really important to us”, says Bygone founder and Artistic Executive Director, Emily Dix, “and I mean real affordability. Affordable for artists who are often making minimum wage. Not just ‘below market value’ – artists shouldn’t have to choose between paying for a space to make and present their art and paying to eat”. It’s this belief that has led The Bridge to prioritize extremely low rates for artist rentals, with rehearsal and performance space starting at $10/hr for eligible artists and art groups.
The space at 379 Adelaide is leased until January 31, 2026, and efforts are already well underway to raise money to support its operations. Allied Properties REIT has provided in-kind support through favourable and flexible leasing terms for the space.; Beanfield is our connectivity sponsor, and has provided us with high-speed internet; derooted is hosting an extensive, responsive lighting set-up, valued at about $30,000; our partners UKAI Projects provide management and grant support; and co-tenants Vodkow have generously sponsored our bar and events.
Our funding goal for The Bridge over the course of our lease is $250,000. Approximately $105,000 of that will be programmatic funding, providing free access and support to a cohort of approximately 45 artists a month. About $5,000 a month will go towards regular staffing costs, and the remainder will cover our lease and overhead. While a large and ambitious sum, the value potential for the community is huge. If we successfully secure this funding then all artists can access the space at the lowest rates of $10 an hour, half the cost of some of the next cheapest rentals available in the city. The first phase of our campaign has been launched on Bygone Theatre’s Canada Helps page as we work to raise $15,000 before the end of the year to complete set-up and add to some of the infrastructure.
This May, Bygone is returning to the historic Hart House Theatre, this time with a remount of their award-winning 2019 production, The Rear Window. Bringing back some of the original cast while adding a few new faces, the show is undergoing a few tweaks and will feature some exciting new technical elements. Stay tuned for details.
For the second season in a row, IG Wealth Management has generously provided us with a substantial donation to expand our Business and Financial Literacy program as well as support community arts. This season’s program will include in-person workshops as well as streaming and will encourage participants to take a more hands-on approach to learning. As well, our partner, Consultant Adam Malcolm, BA Hons, QAFP, RRC, RIS is offering a free drop-in here at The Bridge for anyone looking for financial advice on things from budgets, to RRSPs, estate planning and more.
DIY Holiday Ornament Drop-In: Saturday December 9, 2023, 11am-4pm
This free family-friendly event is part of our Mend and Make Do sustainability initiative. Come craft some holiday ornaments out of scraps and learn how to make something from nothing. Donations happily accepted, including donations of crafting supplies.
Enigma: What Will Your Future Hold? NYE, 10pm – 3am
Join us New Years and step back into the past while looking to the future, in a vintage inspired night of burlesque, fortune telling and all things mystical. Tickets starting at $20, see our website for details.
Finally, Bygone is honoured to be the recipient of 20 Broadway World Toronto Award nominations for last season, including awards for Best Play and Best New Play (The Birds, The Yellow Wallpaper) and Favourite Local Theatre. Visit broadwayworld.com/Toronto to cast your vote today.
MEDIA CONTACT: Emily Dix| emily@bygonetheatre.com | 647-343-5965
SOCIAL MEDIA: @BygoneTheatre, @379TheBridge
MORE INFO: www.bygonetheatre.com | www.379thebridge.com
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On Saturday November 26, 2022, we opened our first production of our 10th season, The Birds, at Hart House Theatre. As my speech was somewhat improvised and a little scattered and emotional, I wanted to share a cleaner version of it now – there’s a reason I’m usually the one behind the camera/stage, and writing this out is sure to be a better way to ensure I share all I want to say.
As you likely know if you are reading this, my name is Emily Dix and I am the Artistic Executive Director of Bygone Theatre, a company I founded in October 2012 along with Matt McGrath and Tom Beattie. Both of them have since moved on, but I’m happy to say that many of the wonderful people I work with today have been with the company in some capacity or another for years, and I hope that continues to be the case. In 2015 we became a non-profit and formed our first Board of Directors: Elizabeth Stuart Morris was Chair, Leete Stetson was Vice Chair, Elizabeth Rose Morriss was Secretary and Conor Fitzgerald was Treasurer. While our Chair and Vice Chair were only with us for a season, Conor has gone on to become Bygone Chair and Elizabeth, who has worked with Bygone in various capacities since the very beginning, is still our Secretary. We have since added to our board Dr. Mark Terry as President, and Vinay Sagar as a member. This team has provided guidance and support in countless ways, and because of them we were able to become a registered charity in the summer of 2022. I would like to extend my thanks to all who have helped in the formation of this company – it isn’t as glamourous a role as some of the creatives, but it is essential, and we couldn’t do it without you.
Through the years Bygone has produced numerous one-night-only performances in addition to our mainstage shows. These include many “Finn and Friend” productions, staring the incomparable Tom Finn and his hilarious brother, Kevin Finn, as well as a series of retro game shows hosted by the one and only Bob Burnhart (aka actor and dialect coach, John Fleming). We have also produced over a dozen “Retro Radio Hour” shows that feature the talents of dozens of lovely singers and actors, both those who have been featured in mainstage shows and those who joined us for a one-off performance. These smaller performances still require a tremendous amount of talent, planning and work, and many have been mounted as fundraisers, meaning those involved have donated their time to help grow the company. To everyone who has been involved in one of these events of which there really are too many to count, thank you.
Our last major production was The Rear Window, performed at Theatre Passe Muraille back in March of 2019. It had been our biggest show to-date, and while a major financial risk, it was one that we felt we needed to take. The show was a success with great reviews and a total of 11 Broadway World Toronto nominations, four of which led to wins: Best Direction of an Equity Play – Emily Dix; Best Original Lighting Design – Wesley Babcock; Best Leading Actor – Tristan Claxton; and Best Actress in a Supporting Role – Kate McArthur. Unfortunately, what we had hoped would be a big jump forward in the growth of our company was quickly stalled in 2020, at the outbreak of the COVID-19 pandemic. Suddenly, we had to press pause, and went for over 2 years without producing a live show.
During our production hiatus, we shifted focus to develop the other aspects of our company. We always knew we wanted to work towards charitable status, and so we put all our time and effort into building our Sustainability and Diversity & Accessibility Mandates, and our education program. With the help of Dr.Mark Terry, we partnered with the Youth Climate Report, and became the first theatre company to publicly commit to following all 17 of the United Nations Sustainable Development Goals. When the YCR was awarded an honourable mention at the 2020 UN SDG Action Awards, we were given the opportunity to share a video that outlined our commitments. Since then, we have further narrowed and focused our mandate into three main areas: Mend & Make Do; Vintage Aesthetics, Not Values; and Indie Unite. We reaffirmed our commitment to accessibility, and committed to providing clearer breakdowns in all casting and production calls, highlighting specific skills, abilities, potential challenges and possible solutions. We majorly expanded our commitment to diversity, and instituted quantifiable goals such as reserving 50% of auditions slots for BIPOC performers, and providing free admission to all Bygone shows and events for anyone who identifies as being of Indigenous descent. We also provide free advertising space to Indigenous-led organizations, and are seeking funding to be able to hire an Indigenous artist as a consultant as we continue to expand this mandate.
In 2021, we were awarded the Toronto Star Readers’ Choice Award for Best Live Theatre, and were runner-up for NOW Magazine’s Best Small Theatre – if you like the work we do, voting is currently open for the Broadway World Toronto Awards, and while we did not produce anything last season we are nominated for Best Local Theatre in both the Professional and Non-Professional categories – you can cast your vote here.
With the help of a generous donation last season from Jane Aster Roe of Aster Roe Productions, we were able to start two new initiatives; a revival of our Retro Radio Hour series, now to be in podcast form; and the expansion of our Youth Production Assistant program. As with all of our new programs and initiatives, our top priority is with providing payment and support to artists, who have been disproportionately affected during the past few years of the pandemic. With that goal in mind, our first charitable campaign was the creation of our Artist Fund, which gave 100% of funds raised directly to our artists. It is our goal to re-fill this fund with the ticket sales from each show, as well as through fundraising campaigns, so that we can work towards always providing industry standard rates to all the artists we engage. This year, we raised over $12,000 which went directly to the cast of The Birds – thank you to everyone who donated, and if you would still like to give your support, donations can be made via our Canada Helps page.
Throughout the pandemic we provided a series of free webinars on topics ranging from producing to vintage design – these will become a regular part of our programming. This season, thanks to a major donation from IG Financial, we are launching a new program: Empower Your Tomorrow: Financial and Business Literacy for the Arts – stay tuned for details. We are also thrilled to be providing a series of workshops through our venue partnerships with Hart House Theatre.
Finally, this season will include two more mainstage productions: The Yellow Wallpaper, a mix of ambulatory theatre and digital projection being presented at Campbell House Museum, March 2023; and Wayne & Shuster, Live! which will bring Canadian comedy legends Wayne & Shuster back to the stage with the support of their children, Michael and Brian Wayne and Rosie Shuster, thanks to sponsorship from Alterna Savings and a venue partnership with Hart House Theatre, May 2023.
Now that we’re all caught up on the craziness that is the last few years, it’s time to say thanks to those who have helped create what is not only our first show of our 10th season, but the first back since our COVID-19 hiatus, AND our first show as a registered charity: The Birds.
First, to the staff of Hart House Theatre. To Doug Floyd, who took a chance on a small company and let us come into a space we simply could not have afforded on our own – thank you for the encouragement and support, and for giving us a chance to show what we can do. This literally wouldn’t be happening without you. To Gillian Lewis, who is actually the HHT Education & Production Coordinator, but who seems to do basically every job there is. Thank you for helping with everything from organizing workshops to finding props and for the constantly positive attitude and excellent hugs. To Brian Campbell for his guidance and support as we get used to being back in a theatre, and a union house at that – thank you for your patience. To Lindsey Middleton for all the last-minute help when my computer decided to die THE WEEK of opening – thank you for being on-the-ball, keeping a cool head, and finishing the program I should have had done 3 weeks prior. To Parker Nowlan, for being an absolute superstar. I don’t even know where to start. Parker has done everything from set building to programming the lights and has been there to save the day numerous times through this process (starting with emergency printing at our callbacks). Thank you for all your help, and most of all, for doing it with a smile and the patience of a saint. To Brendan (oh my god how do I not know your last name??), who programmed our sound and took my rambling, very non-technical notes and requests and made it all work – thank you for also being super patient, and for making last-minute adjustments more times than I’d like to count. And to all the front of house staff, the Hart House volunteers, and the cleaning staff who’ve dealt with our cluttered backstage – it takes a huge group of talented and dedicated people to run something like Hart House Theatre, and I am thankful to all of you.
Warning – this is where I may start to get sappy.
To our cast and crew, starting with our team of production assistants. Thank you to Ainsley Munro for late-night flat painting, to Sarah Allen who shadowed Wes and helped with odd set and prop tasks that ranged from dressing to running to Rotblotts for more tape. To Kiana Josette, who is working with us in various producing capacities and who took stunning production photos and all the pictures of our opening night gala. To assistant/apprentice director Julia Edda Pape, who attended nearly every rehearsal and provided great vision and insight, as well as helping in a variety of PA roles, and who was a part of the workshopping of the script. Thank you for being consistent, reliable, hardworking and talented – you are going to go far. To our ASM/Associate Producer Jane Aster Roe, who has worked with us in some capacity since 2016 – thank you for doing everything from raising funds to selling tickets, setting props and doing coffee runs – your willingness to do whatever needs to be done has been invaluable and is very much appreciated. To my mother, Karen Henderson, who sewed the lovely dress you see on Daphne at the top of the show and to Tegan Ridge, who came in last-minute with some hair & makeup suggestions – thank you. A major part of Bygone’s image is our historically accurate aesthetic, and that couldn’t have been achieved without you.
To Wes Babcock, our set designer who eventually came on as lighting designer as well, and had to work with tight deadlines and an even tighter budget – thank you for not only doing your job wonderfully well, but for helping with all the dozens of things that were decidedly not your job, like helping with sound cues and InDesign files – I know you weren’t the production manager, but you were definitely a production manager. More importantly than that, you’ve been an amazing friend, as you always have been, and I appreciate you lending an ear not only to my worries and questions about the show, but to my complaints about life in general. I’m so happy to have known Wes for many, many years, and hope to have him in my life for many more to come – I promise every time we will pay you more than the last.
To our wonderful stage manager, Kate McArthur, who is one of the most beautiful people I know. I am so proud of you and all your work on this, jumping into a role you hadn’t filled in years, you’ve done an amazing job and shown you really can do anything. Thank you for being a constant support in every way, you’re one of my closest friends and I could not have maintained my sanity this past month without you. I look forward to spending this entire year creating things with you.
To my fantastic cast – Anna Douglas, who I have not known for long, but who I could immediately see was the perfect Daphne. Anna approaches her work with a focus and dedication that is truly admirable, and while I rarely have time to point it out in rehearsals, I see new details and nuances every time she runs a scene, and those are noticed and appreciated. Her commitment to the show and determination to make it a success has been clear since day one. Thank you, Anna, for the attention-to-detail, thoughtfulness and thoroughness in all that you do.
To Alex Clay, another one of my closest friends, and someone who I have been lucky to work with several times before. Alex read the very earliest versions of this script and has been a sounding board throughout the entire process. Thank you for the lunch-time phone calls to go over ideas, and for coming to each rehearsal focused and ready and full of incredibly lame jokes that always make me laugh. I’m so happy to see you in a role that allows you to show such range, and excited for everyone to see what a talented and capable actor you are. I’m so happy to have you in my life.
To Oliver Georgiou, who I knew was “Mitch” about 5 seconds into his audition. Oliver is wonderful onstage and off – not only is he a talented and engaging actor, he is a thoughtful and supportive team member who has done everything from running warm-ups to bringing me allergy medicine the day after I complained about a dusty theatre. Oliver’s additions to the script have been essential, and the ending is what it is thanks to him. Thank you for supporting and elevating all my ideas, and for being a great listener and a wonderful person to be around.
To Kiera Publicover, who is one of the most wonderfully laid-back actors I’ve ever had a chance to work with, thank you for being a constantly positive and calming presence – much needed in a show as intense as this. Kiera took what could have easily been a small, two-dimensional part and built it into a fully-formed, engaging and endearing character that is exciting to watch. I can’t wait to see all the amazing things you go on to do. Thank you as well for your assistance with editing the Land Acknowledgement, and for the suggestions of Indigenous organizations to support.
To Chad Allen, who I had worked with briefly before years ago when he swooped in last minute to save the day by playing several small roles in His Girl Friday. Chad is a true pro, and has excellent taste in coffee. Thank you for always bringing focus and dedication to all you do, and for being such a positive and guiding presence in rehearsals – I look up to you, and not just because you’re a giant and an “old man”. Chad has also taken a small role and turned it into a character worthy of a spin-off. Thank you for always going above and beyond.
Last, but certainly not least, to Conor Fitzgerald, Bygone’s Chair, my fellow Producer, and my partner in every aspect of life. Thank you for creating business plans and spreadsheets, for driving ridiculously far away for obscure auction pick-ups, for keeping me supplied in Diet Coke, and for supporting me during every stage and mood and thing. It sounds so cheesy to say he is my other half, but it really is true, and I could not do any of the things I do without him.
To all who have helped Bygone become what it is today, and to all who have supported The Birds in anyway, thank you. I hope you enjoy our show and our season, and all the big things to come.
Bygone Theatre is now a registered charity, and our first ever campaign is promising 100% of funds raised directly to artists.
Bygone Theatre’s last show was in 2019. Throughout the pandemic, we pressed pause on producing live theatre so that we could develop our company and strengthen our values, preparing to come back bigger and better than ever.
We developed a diversity & accessibility mandate to promote equity. We committed to the United Nations SDG Action Plan to ensure we are contributing to a sustainable world. And we became a registered charity to ensure that we had the structures in place to grow and support our community.
Now, as we prepare for our next season, we are looking for your help to create a sustainable Fund that will allow us to guarantee our artists fair wages all season long.
Over the past ten years, we have created outstanding theatre working with phenomenal actors who joined our productions in a profit-share format. We were voted Toronto’s Best Live Theatre (Toronto Star Readers’ Choice, 2021), were runner-up for NOW Magazine’s Best Small Theatre (2021), and our last production, The Rear Window, was nominated for 10 Broadway World Toronto awards, and won 4: we have done a lot with a little. This fund will allow us to hire our actors at Equity DOT rates – whether they are union members or not.
We are a small company – we have no operational funding and no salaries, the majority of our admin and production work is done by our Artistic Executive Director and Chair; we have learned over 10 years how to generate marketing, press, and create fantastic scenic design for cents on the dollar. But now it’s time to move into the next chapter, and we want to put artists first.
$25,000 will allow us to commit to industry standard rates all season – we will commit to reinvesting the profits of every show to top up this fund and provide fair wages for every show after.
In this way, you will help not just Artists today, but those we engage with on future productions.
Donations can be made directly through our Canada Helps page.
Thank you for your time and support.
The Broadway World Toronto Award Winners have been announced! Congratulations to all the winners and nominees, including;
EMILY DIX – Best Director, The Rear Window
TRISTAN CLAXTON – Best Performance by a Leading Actor, The Rear Window
KATE MCARTHUR – Best Performance by a Featured Actress, The Rear Window
WESLEY BABCOCK – Best Original Lighting Design, The Rear Window
THOMAS FINN – Best Cabaret Performance, A Rat Packed Christmas
See the complete list of winners here.
We’re thrilled to have a total of 14 nominations for the Broadway World Toronto Awards, 11 of which are for people involved in our March 2019 production of The Rear Window.
Congratulations and best of luck to all those who are nominated, voting only takes a couple of minutes and can be done here. Bygone is honoured to be recognized in the following categories;
Well here we are again, Fringe time! With over 150 shows in less than 2 weeks it can be hard to narrow down what you want to see, so we’ve put together a list for all you Bygone lovers – shows featuring artists we’ve worked with or those we hope to. Enjoy!
Jada has performed as Bob Burnhart’s lovely assistant in The Couples’ Game, as well as a fabulous version of the Grinch in our co-pro with Thomas Finn, The Cab(aret) Before Christmas. This Fringe, see her in two shows; Clitoria: A Sex-Positive Superhero! and Every Silver Lining.
A sexually repressed high school science teacher accidentally turns herself into a sex-positive Vixen of Kink through a science experiment gone wrong. As the sex ed curriculum is scrapped in Ontario, Clitoria’s transformation wreaks havoc on her square life and her square fiancé. Musical comedy unfolds in hot, steamy, and unexpected ways!
Every Silver Lining is an original, dramedic, coming-of-age musical about illness and the perseverance of life; juxtaposing the joyful naiveté of youth, and the crushing discovery of mortality.
Fringe’s Cyrano de Bergerac features 2 Bygone buddies; Sean Jacklin who played Walter Burns in His Girl Friday and Kevin Forster who played Hal in Loot.
Cyrano, Christina, and the Comte de Guiche vie for the affection of Roxanne, one using their wit, another their beauty, and the third . . . well any trick in the book. In the tradition of street theatre of the past, The Leslieville Players invite you to lay back on a patch of grass and watch us barrel through this new family friendly adaptation of a beloved classic. Sure Shaw and St. Lawrence are doing the show too, but we’re more fun! (and cheaper.)
Wes Babcock was our fabulous lighting designer for our most recent production, The Rear Window. It’s hard to find a photo that does his work justice, but he managed to create chilling, dynamic lighting for a series of apartments in this thrilling suspense. Whitney Hewitt also worked on our show as our invincible stage manager! She is getting in the SM booth again for Deep End.
Carina’s turning 18 and is hosting the Birthday POOL Party of the year! Everyone’s invited, even Lilly. When do adults intervene in harmless harassment? What happens when life throws you into the deep end? This site specific show that happens in and around a Swimming Pool asks when does “kids will be kids,” go to far?
Please note that as this is a site specific Production the Audience will be required to remove their shoes and enter the pool deck where they will be seated on benches for the duration of the production!
Sarah played The Dancing Girl in The Rear Window, but this Fringe she is working behind-the-scenes as the producer of Drink of Choice.
You walk into a bar, someone comes to take your order, and what happens next is your choice. Join us at the bar for a Choose-Your-Own-Adventure storytelling experience where the drink you order leads to personal tales about sexuality, romance, and total loss of reality. A hilarious solo show about what it means to be asexual as you navigate dating and seeking connection.
Nicole was a regular staple of our Retro Radio Hour series and also performed in our Vaudeville Revue. She is doing music direction for Friendly Fire at this year’s Fringe.
Friends are great, aren’t they? Wait, are they? They must be. Otherwise we wouldn’t try so hard to make them. Or keep them. Or avoid them. Until we can cut them out… hmm. Sketch revues are great, aren’t they? This one is! Grab some pals and join us for a romp amongst the minefields of friendship. Or, come alone. We’re easy.
Cass played Hildy Johnson in His Girl Friday and this summer is in another show by popular playwright Michael Ross Albert (so buy in advance!).
The morning after a break-in at a tech company, three co-workers assemble for a conference call to discuss the burglary. What starts as a civilized, professional meeting swiftly devolves into a brutal showdown that puts everyone’s careers– and their hopes for future happiness– in jeopardy.
Written by Dora-nominated playwright Michael Ross Albert (“Anywhere,” Best of Fringe 2018/Patron’s Pick) and directed by Marie Farsi (associate artistic director, Crow’s Theatre), “The Huns” is a new, menacing workplace comedy about millennial anxieties, minor revolutions, and modern-day barbarians.
Tapping trip The Vintage Taps performed in our Vaudeville Revue, see them in an extended show with a bigger cast in The Laundry List at this year’s Fringe.
It’s 1919, and Frankie’s Laundry is gunning to be the number one bootlegger in Toronto. His competition thinks otherwise, and a group of chorus girls find themselves in a showdown of guns…..and tap shoes. The Laundry List will whisk you back to the golden age of jazz, flappers and gangsters. With live music, singing, and tap dancing, this cast of 12 will leave you with a song in your heart and a skip in your step.
We’ve just started working with Rob Sapienza as he is one half of Sapling theatre, the company we have teamed up with (along with Larry Silverberg) to produce Something For The Buoys this October. He is directing Tales of a Cocktail at the Fringe.
The classic story of an innocent man wrongly, but deliberately sent to his demise and his brilliant strategy for revenge against those who betrayed him. Dashing young mobster Edward is a guileless and honest young man whose plans to marry the beautiful Mercedes and live a better life are abruptly shattered when his best friend who wants Mercedes for himself, deceives him. Told through a Chicago 1920s lens this dance adaptation brings to life the tale of The Count Of Monte Cristo.
This one caught our eye, and although Bygone hasn’t worked with David DiFrancesco before, our AD Emily Dix has, and is sure this will be hilarious.
From the company that brought you the award-winning Toronto Fringe smash hit Three Men in a Boat. Based upon the further writings of Victorian author Jerome K. Jerome. Pea Green Theatre Group proudly presents Three Men on a Bike! (Being the further adventures of three Victorian gentlemen as they embark upon a disastrous bicycling trip to the continent.) Not to be missed!
Being a company that produces 20th century shows that are often closely linked to cinema, Reefer Madness the musical is of course on our to-do list. We’re intrigued by this new look at a story many of us know from the stage and screen.
During the Depression, a time when hope and prosperity is far from the American mind, a common enemy is created: the Mexican weed with roots in hell, marijuana. Known as hemp and cannabis and used industrially and medically across the globe, “marijuana” is promoted as the cause of moral depravity among young people and societal decay. With the support of powerful allies with various interests, economic or otherwise, the Federal Commissioner of Narcotics Harry Anslinger will stop at nothing to warp the image of cannabis into what will shape international drug scheduling for generations to come.
Click on any of the show titles in this list for more info like show dates & times. Be sure to check out the Fringe website for a complete list of this season’s shows.
Bygone Theatre 