Set and costume designer, born in Montreal and based in Toronto. Dany Lyne has an Interior Design Diploma from Dawson College (1981), a degree in Fine Arts and Theatre from the Ontario College of Art and Design (1991), a year residency in Opera Design at the Banff Centre for the Arts (1990-91), and an MFA in Set and Costume Design from the University of Victoria (1993).
During the past thirteen years she has collaborated on over 70 opera, theatre, and music theatre productions in Canada, the United States, and Europe. Recent Canadian theatre projects include The Wrong Son (National Arts Centre 2006, dir. Peter Hinton); Into the Woods (Stratford Festival 2005, dir. Hinton); Nathan the Wise (Soulpepper Theatre Company 2004); John Mighton’s Half Life for Necessary Angel and Tarragon Theatre (2005 dir. Daniel Brooks; Phèdre (Soulpepper Theatre 2003); Henry V for the Stratford Festival (2003, dir. Jeannette Lambermont); The Whirlpool and Patience (Tarragon Theatre); A Christmas Carol, Rough Crossing, The Glass Menagerie (Theatre Calgary); Le Tartuffe, Johnny Mangano and his Astonishing Dogs, La Voix Humaine, Surprise! Surprise! (Théâtre Français de Toronto); Jason Sherman’s Reading Hebron (Factory Theatre); Twelfth Night (Canadian Stage).
Her opera designs include Macbeth (2006) and Pelleas et Melisande (2000) for the Canadian Opera Company (dir. Nicholas Muni); Rodelinda (Canadian Opera Company 2005, dir. Tim Albery); Idomeneo for National Reis Opera, Netherlands (2002) and Opera North, England; The Maids (2004), The Emperor of Atlantis (2005), La Voix Humaine (2003), Seven Deadly Sins (2003), Medusa (2003), and Elektra (2002) for the Cincinnati Opera.
Dany Lyne has received eleven Dora Mavor Moore Award nominations for Outstanding Set and Costume Design, with one Dora Award for the set design of Alisa Palmer's The Attic, The Pearls, and Three Fine Girls at Buddies in Bad Times Theatre.
In October 2006 she was awarded the Siminovitch Prize in Theatre, Canada’s largest annual theatre award. In her acceptance speech, Lyne expressed her reasons for working in theatre: "The sheer multi-dimensionality of theatre filled me with incredible awe: not only is it three-dimensional visually, it is space-specific, unfolds in real time, includes spoken or sung word, explores the truths and lies of existence through narrative, and engages the soul of the musician and the expressiveness of the human body."
She has taught at the National Theatre School of Canada, and the Ontario College of Art and Design. Since 2006, she is a CranioSacral Therapist, Reiki Master, and Trauma Intuitive.
Last updated 2021-04-05