He was involved in the creation and was the first artistic director of the Hart House Theatre at the University of Toronto, and was an influence on Vincent Massey, Herman Voaden and Mavor Moore.

[1] In 1974 Moore wrote "in 1929, Roy Mitchell was a voice crying in the near-wilderness of Canada" and called him "the seer who said it all on our own doorstep nearly half a century ago.

[7] The first was Interior by Maurice Maeterlinck in 1911; others included The Shadowy Waters by W. B. Yeats, The Workhouse Ward by Lady Gregory, and the North American premieres of Rabindranath Tagore's The Post Office (in 1914) and Chitra (in 1916).

[4] Mitchell knew Vincent Massey from the Arts and Letters Club, and worked with him in creating the Hart House Theatre, which opened in 1919.

[4] The Toronto Daily Star announcement of the wedding described Mitchell as "author, lecturer, theatrical director, theosophical leader and onetime newspaperman" and Taylor as a "well-known artist and sculptress.

He formed a seven-member singing group called The Consort (Jocelyn Taylor was a member) that sang songs in forty languages and dialects.

Thoroughly imbued with a sense of the importance of the theatrical art to the community (it is no exaggeration to say that he conceives of it as a form of religion), he is perfectly willing to place all his knowledge and experience at the disposal of other producers.

Mavor Moore said it "constructs a vision of the theatre that foreshadows, often in clairvoyant detail, the ideas of Artaud on movement, of Brecht on audiences, of Guthrie on ritual, of Peter Brook on the open space, and of Grotowski on the monastic community.