Limited amount of Rush tickets available the night of each performance, at the door.


The AtG production that started it all, and uprooted opera from the opera house. Our modern adaptation and English translation of the Puccini classic shifted the tale of struggling artists to the present-day, and unfolded entirely inside a historic dive bar in the heart of Toronto’s Annex neighbourhood.

This May 2017, we present a fully-staged remount of our acclaimed, groundbreaking English “transladaptation” of the Puccini classic and bring it home to the historic Tranzac Club. Joel Ivany directs, and Topher Mokrzewski music directs. Featuring the University of Toronto Opera Chorus.

The story is set in modern-day Toronto. We’re not at Café Momus, but at The Tranzac Club: the most comforting dive bar in the heart of the Annex. This is La Bohème. Experience it (with a beer in hand) for the first time.

Sung in English. New English libretto by Joel Ivany.

Photos courtesy of Nikola Novak.



Friday, May 19  8pm
Sunday, May 21  8pm
Tuesday, May 23  8pm
Thursday, May 25  8pm
Saturday, May 27  8pm
Wednesday, May 31 8pm
Monday, May 29  8pm
Friday, June 2  8pm


Buy tickets

Please note: Tickets for #AtGBoheme are now off-sale due to record-breaking interest. A limited amount of Rush tickets will be available each night of the performance, at the door. Line up early for these. (Show begins at 8 p.m.)


Tranzac Club
292 Brunswick Ave, Toronto, ON M5S 1Y2

Gallery (2011 Production)

Press (2011 Production)

"A bold debut production for a fledgling company whose goal is to reinterpret the theatrical experience."

− The Toronto Star

This La Bohème belongs in the bar | The Toronto Star
“A bold debut production for a fledgling company whose goal is to reinterpret the theatrical experience.”

La Bohème | Toronto Life
“This adaptation retains Puccini’s characters and music, so purists will still find something to marvel at.”

La Bohème Goes Against the Grain at the Tranzac | Torontoist
“One new company is taking a different tactic with [younger] audiences. It’s thrusting them right into the middle of it.”

Bohème Against the Grain | barczablog
“Against the Grain Theatre has made the opera live. And so our bohemians have an instantaneous authenticity in the grungy old bar.”

Bohème Against the Grain (Remount) | barczablog
“Joel Ivany’s adaptation moved us into present-day Toronto, and it wasn’t just a thrill.  It was a happening.”

Bohème Against the Grain | Opera Ramblings
“I really like that alongside the increasingly excellent offerings from the COC, Toronto can offer opera in settings like the Tranzac.”

La Bohème, The Canadian Way | Charlebois Post
“One of the most entertaining ideas I’ve ever had at an opera. The English lyrics were fresh, often cheeky, and immediately engaging.”

Creative Team

Joel Ivany

Joel Ivany

Stage Director

Joel Ivany is the Founder and Artistic Director of AtG, and is the program director of Banff Centre’s “Open Space: Opera in the 21st Century.” His directing credits include productions of Verdi’s Macbeth (Minnesota Opera), Carmen (Vancouver Opera), Les Contes d’Hoffmann (Edmonton Opera), Gavin Bryars’ Marilyn Forever (Adelaide Festival) and Le nozze di Figaro (revival at Norwegian National Opera). He is the author of five (and counting) original librettos. He was a Dora Mavor Moore Award nominee for Outstanding Direction (AtG’s Figaro’s Wedding), Outstanding New Opera/Musical (AtG’s #UncleJohn) and the recipient of the same prize for Figaro’s Wedding. Recent mainstage directing credits include debuts at the Canadian Opera Company (Carmen) and the Toronto Symphony Orchestra (Mozart’s Requiem). His 2016/2017 engagements include a new production of Dead Man Walking (Vancouver Opera), a revival of AtG’s hit La Bohème, and a semi-staged presentation of The Seven Deadly Sins (Toronto Symphony Orchestra).

Christopher Mokrzewski

Topher Mokrzewski

Music Director

Conductor, pianist and vocal coach, Topher “Verklemption” Mokrzewski is a steadily rising figure in the world of Canadian opera. He is serving his fourth season as Resident Conductor of Calgary Opera, and is Music Director of both AtG and the Open Space Opera Program at The Banff Centre for Arts and Creativity. A graduate of the Canadian Opera Company Ensemble Studio, he is frequently sought as a soloist, collaborator and music director. He recently conducted Gilbert and Sullivan’s The Mikado and Ravel’s L’enfant et les Sortilèges at Calgary Opera (where he also served as assistant conductor for Lakmé, Die tote Stadt and Die Zauberflöte) and Britten’s The Rape of Lucretia with Against the Grain Theatre at the Banff Centre and Toronto Summer Music Festival. In 2016/2017, Topher returns to his duties at Calgary Opera, Against the Grain Theatre and Banff Centre and will also return to the music staff of the Canadian Opera Company.

Adriana Bogaard

Costume & Set Designer

Adriana Bogaard is a film and theatre designer originally from British Columbia. She recently graduated from the National Theatre School’s Set and Costume Design Program, and holds a BA in Drama and Film from the University of British Columbia. She has worked as a designer of sets, costumes, lights, props, and puppets for companies in BC, Alberta, Quebec, and Ontario. As a writer and director, her play The Passage won Best Solo Show at the 2016 Montreal Fringe, and the BC Playwriting Competition’s Special Merit Award.

Noah Feaver

Lighting Designer

Originally from Vancouver, Noah Feaver is currently based in Toronto. His recent credits include Rent (Mainstage Theatre Company), Cendrillon (The Royal Conservatory), Ruby Red Burlesque (Concrete Vertigo Productions), Treasure Island, Dances 2016, Arranged Marriage (Ryerson University), MANICPIXIEDREAMGIRLS (Rock Bottom Movement), Momentum 2016 (The School of Toronto Dance Theatre), Crush (The Banff Centre). Assistant credits include: It’s A Wonderful Life (Soulpepper), Fall For Dance North (Sony Centre), Still (The Banff Centre), Program 2 (Ballet BC), and A Little Too Cozy (Against The Grain Theatre).


Kimy Mc Laren


Québec soprano Kimy McLaren has performed more than 30 operatic roles — including Marguerite (Faust), Leïla (Les Pêcheurs de Perles), Juliette (Roméo et Juliette), Donna Elvira (Don Giovanni), Marie (Wozzeck), The Governess (The Turn of the Screw) — in France (Lille, Strasbourg, Marseille, Toulon, Metz, Bordeaux, Reims, etc.), Latin America, Asia and Canada. Théâtre du Châtelet in Paris engaged her for an enormously successful run of Julie Jordan in Carousel and immediately invited her to return in the role of Cinderella in Sondheim’s Into the Woods. Last season, she took over the role of Juliette in Roméo et Juliette in Metz and Reims, sang the Fünfte Magd from Elektra in Montreal conducted by Yannick Nézet-Séguin, and sang Bach’s Weinachtsoratorium as well as recitals (Brahms’ Liebeslieder).  In 2016/2017 she sings Léonore ou l’Amour Conjugal by Pierre Gaveaux in New York and Washington, and takes over Bach’s Weinachtsoratorium with the ensemble “I Musici.”

Owen McCausland

Owen McCausland


Canadian tenor Owen McCausland is a recent graduate of the Canadian Opera Company Ensemble Studio. He made his mainstage debut with the company as Tito in La Clemenza di Tito, stepping in for Michael Shade for four performances. Notable roles with the company include Tamino in Die Zauberflöte, Testo in Il Combattimento, and Lurcanio in Ariodante and next season’s Pedrillo in Abduction and the Fisherman in Le Rossignol. Amongst Owen’s many accomplishments and engagements, he returns to the TSO this season for a concert version of Weill’s Seven Deadly Sins.He was a finalist and winner of the Canadian Encouragement Award at the 2015 George London Singing Competition and also a semi-finalist in the 2015 Montreal International Music Competition. Owen is thrilled to return to AtG after performing in AtG’s Messiah (2015).

Andrew Love


Calgary native Andrew Love is pleased to return to Canada after performing in the Tony-nominated revival of Les Miserables on Broadway as the Bishop of Digne and Javert u/s. Other recent credits include Opéra de Québec (La Traviata), Pacific Opera Victoria (Carmen, Maria Stuarda), Calgary Opera (The Rape of Lucretia, La Traviata, Filumena), Saskatoon Opera (The Marriage of Figaro), Tapestry Opera (Shelter), and the Luminato Festival (Prima Donna). Andrew completed his training at the University of Toronto where he received the ARIAS Distinguished Graduate Award for his class. He is a proud alumnus of the inaugural year of the Calgary Opera Emerging Artists Development Program.

Adanya Dunn


Soprano Adanya Dunn holds degrees in M.Mus. Opera and B.Mus. Voice Performance from the University of Toronto, where she studied under Professor Lorna MacDonald, and graduated in May 2016 from Dawn Upshaw’s Graduate Vocal Arts Program at Bard College Conservatory of Music in New York. She was a Voice Fellow for two summers at Marilyn Horne’s Music Academy of the West and is a two-time long-term grant recipient from Canada Council for the Arts. A resident performer with FAWN Chamber Creative and an active participant in both the contemporary and traditional classical spheres, Adanya enjoys collaborating with composers and performing, creating, and producing innovating programming and new works. For the 2016/17 Season, Adanya is a Rebanks Family Fellow at Glenn Gould School, studying with Monica Whicher. She previously sang with AtG as a soloist in Ayre: An Evening of Osvaldo Golijov.

Kenneth Kellogg


Praised for his “commanding stage presence” and “rich, resonant bass,” Kenneth Kellogg is quickly gaining recognition as a sought after young artist. Born and raised in Washington, DC, he began formal training at the Duke Ellington School of the Performing and Visual Arts as a Vocal and Visual Arts student. Among his roles, many are staples of opera repertoire: the title role in Mozart’s Don Giovanni, as well as Leporello and Il Commendatore; Mephistopheles in Gounod’s Faust; and Don Alfonso in Mozart’s Così fan tutte. He is a frequent collaborator with small companies pushing the boundaries of the art of opera.

Micah Schroeder

Micah Schroeder


Micah Schroeder holds Bachelor and Masters Degrees from the University of British Columbia and is currently pursuing a diploma in opera studies from the University of Toronto. Roles with University of Toronto include Pluton in Offenbach’s Orphée aux enfers, and Argenio in Handel’s Imeneo. As a fellow of the Aspen Opera Centre in 2015 and 2016, Micah sang Schaunard in Puccini’s La Bohème and Tonic/Don Giovanni/Participant 2 in the stage premiere of Steven Stucky’s The Classical Style. Other highlights include the title role in Rossini’s Barber of Seville with Saskatoon Opera in Schools as well as the cover for Vancouver Opera in Schools. He returns to AtG after performing in AtG’s Messiah (2015).

Gregory Finney

Gregory Finney


Baritone Gregory Finney is #STOKEDISSIMO to reprise Benoit/Alcindoro for #AtGBoheme. Involved with AtG from the start (Figaro’s Wedding, AtG’s Messiah and #UncleJohn), Gregory is regularly seen on stage with Toronto Operetta Theatre, Opera In Concert, Opera By Request, and LooseTEA Music Theatre, and more. Known for his “big, surprising voice” (schmopera.com) he is “remarkable to watch… “ (barczablog.com). Favourite roles include Antonio, Bartolo, Leporello, Papageno, Orlofsky, and Bardolfo. He’s been seen in the Canadian premieres of Jerry Springer: The Opera, Knickerbocker Holiday, and Kate and the Devil, and the world premieres of Kamouraska and Eric Idle’s Not the Messiah.

Kaitlyn Smith

Assistant Stage Manager

Kaitlyn Smith is a graduate of the Theatre Production program at York University. She is in the midst of acquiring her Equity Stage Management Apprenticeship credits; the most recent ones include Menopause the Musical (2016) by ShaggyPup Productions, The Hobbit (2016) and Brundibar (2017) by the Canadian Children’s Opera Company. She has also found immense enjoyment working as a stage manager for many independent theatre companies over the years and is excited about any new opportunities that come her way.

Chorus in Partnership with