A Note From Our Artistic Executive Director at the Start of Our 10th Season

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.

  • Emily Dix
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Our First Ever Charitable Campaign

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 Bygone Theatre Team

Broadway World Award Winners

The Broadway World Toronto Award Winners have been announced! Congratulations to all the winners and nominees, including;

EMILY DIX – Best Director, The Rear Window


Emily Dix

TRISTAN CLAXTON – Best Performance by a Leading Actor, The Rear Window


TRW_Tristan Claxton

KATE MCARTHUR – Best Performance by a Featured Actress, The Rear Window


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WESLEY BABCOCK – Best Original Lighting Design, The Rear Window

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THOMAS FINN – Best Cabaret Performance, A Rat Packed Christmas

Thomas Finn Headshot

See the complete list of winners here.

Broadway World Toronto Award Nominations

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.

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Tristan Claxton as Jeff in 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;

Best Community Theatre – Bygone Theatre
Best Direction of a Play (Equity) – Emily Dix (The Rear Window)
Best Play (Equity) – The Rear Window
Best Independent Theatre ProductionThe Rear Window
Best Leading Actor (Play, Equity) – Tristan Claxton (The Rear Window)
Best Leading Actress (Play, Equity) – Kate McArthur (The Rear Window)
Best Original Costume Design – Emily Dix (The Rear Window)
Best Original Set Design – Emily Dix (The Rear Window)
Best Original Lighting Design – Wes Babcock (The Rear Window)
Best Performance by a Female in a Featured Role (Play, Equity) – Kate McArthur (The Rear Window)
Best Performance by a Male in a Featured Role (Play, Equity) – Tristan Claxton, Alex Clay (The Rear Window)
Best Cabaret Performance – Thomas Finn, A Rat-Packed Christmas, Crooning Comics and A Night With Frank & Judy
Thank you to all the talented and lovely people who we’ve worked with this past year, here’s to many more!

Bygone Theatre’s Top 10 2019 Fringe Picks!

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!

1. Friend of Bygone Jada Rifkin

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.

CLITORIA: A SEX-POSITIVE SUPERHERO!

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

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.

2. Friends of Bygone Sean Jacklin and Kevin Forster

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 DE BERGERAC

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.)

3. Friends of Bygone Wesley Babcock & Whitney Hewitt

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.

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!

4. Friend of Bygone Sarah Marchand

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.

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.

5. Friend of Bygone Nicole Byblow

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.

FRIENDLY FIRE: THE ART AND EXECUTION OF FRIENDSHIP

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.

6. Friend of Bygone Cass Van Wyck

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 HUNS

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.

7. Friend of Bygone The Vintage Taps

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.

THE LAUNDRY LIST

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.

8. Friend of Bygone Rob Sapienza

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.

TALES OF A COCKTAIL

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.

9. A Quirky Victorian Comedy

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.

THREE MEN ON A BIKE

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!

10. A New Look at Reefer Madness

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.

REEFER MADNESS: ORIGINS

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.

 

The Rear Window

The world premiere of The Rear Window runs March 8-17, 2019 at Theatre Passe Muraille, Toronto.

FOR IMMEDIATE RELEASE:
MONDAY JANUARY 28, 2019
MEDIA CONTACT: Emily Dix | emily@bygonetheatre.com | 647-343-5965

The Rear Window Collective Presents the World Premiere of
THE REAR WINDOW
A Thrilling New Stage Adaptation of a Classic Tale

 TORONTO, ON (Monday January 28, 2019) – Bygone Theatre has partnered with the newly formed Rear Window Collective to support their upcoming production of the world premiere of The Rear Window, written and directed by Emily Dix. This Canadian Actor’s Equity Association production is being produced under the Artist’s Collective Policy, and runs March 8 – 17, 2019 at Theatre Passe Muraille, on their mainstage.

SYNOPSIS
Recuperating from a broken leg, photojournalist L.B. Jefferies (Tristan Claxton) spends his days cooped up in his NYC apartment, watching his neighbours through the rear window of his home. What starts out innocently enough quickly grows into a dangerous obsession, as Jefferies – hopped up on painkillers and too much alcohol – becomes convinced he’s witnessed one of his neighbours commit a brutal murder. Has Jefferies’ really solved a terrible crime? Or have his inner demons finally got the best of him?

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. Still set in the 1950s, the play’s relevancy to today is undeniable in a world where many of us waste away our hours “spying” on others through social media, making our own stories and assumptions based on these small glimpses of a person’s life. A gripping, psychological thriller that will leave you guessing until the final moments whether or not what we’re seeing can truly be believed.

Featuring: Tristan Claxton (Hamelt(s); The Dutchess of Malfi), Kate McArthur (Hamelt(s), My Entertainment World Outstanding Lead nomination; The Tom and Gertie Letters Project), Alex Clay (A Streetcar Named Desire; Inch Of Your Life), Elizabeth Rose Morriss (Tell Me On A Sunday; Harvest Moon Rising), Isaiah Kolundzic (Venus in Fur; The Boys In The Band;Six Stories Told At Night), Sarah Marchand (Umbrella Academy; God’s Plan B), Casey Romanin (Moving On), Gabriel Hamilton (Edmond; The Forest; His Girl Friday).

Created by The Rear Window Collective | Supported by Bygone Theatre
RECOMMENDED for ages 14+ | ADVISORY: Adult situations, violence
SHOW DATES March 8-17, 7:30pm evenings, 2:00pm weekend matinees
LOCATION Theatre Passe Muraille | 16 Ryerson Ave., Toronto
BOX OFFICE online via Arts Box Office | 416-504-7529
TICKETS $25-$30 | $20 Early Bird Discount tickets available until February 7

Visit www.bygonetheatre.com | Twitter & Instagram @BygoneTheatre, @The.Rear.Window