Intrepid Theatre Company Society was founded in November, 1986 to produce the Victoria Fringe Theatre Festival. Now in its 29th year, the Victoria Fringe is one of the oldest in Canada and a founding member of the Canadian Association of Fringe Festivals (CAFF).
In 1996, Intrepid Theatre added a second winter festival - the Focus on Women Arts Festival, an interdisciplinary performance and visual art event which ran for two seasons. In 1998, it was replaced by the Uno Festival of Solo Performance,(Uno Fest) now North America's longest-running solo performance festival.
In the mid-90s, under the producership of Stephen White, Intrepid Theatre produced a handful of contemporary plays including Charles Tidler's Fabulous Yellow Roman Candle and The Sex Change Artist, and David Drake's The Night Larry Kramer Kissed Me (performed by Stephen White and directed by Janet Munsil.) Venues included Open Space Gallery and Theatre Inconnu in Market Square.
Having used an unfinished retail space on the 4th floor of the Victoria Eaton Centre as a temporary festival venue for the Fringe Festival and Focus on Women, Intrepid Theatre approached the Cadillac Fairview Corp. to use the space as a year-round venue in 1995. For two years, Intrepid Theatre operated The Planet Theatre, outfitting the space with 99 chairs and technical equipment, and making it available for community rentals in addition to festival programming. The venue closed in late 1998 when the fire inspector noted that the all-concrete studio space had no sprinkler system or fire separation for the stage area, and was subsequently leased to a computer training school.
The closure of The Planet Theatre was one of several venue closures around this time, including the Theatre Inconnu in Market Square, and Kaleidoscope Theatre's 290 seat venue on Herald Street; which had a short-lived revival as the privately-owned Herald Street for the Arts, before closing permanently in 200- (?)
In 2005, Intrepid Theatre identified the need for small theatre venues as a major factor affecting the sustainability of its festivals and the health of Victoria's independent theatre scene, which by this point had dwindled significantly. Between 1999-2001, an average of three Victoria-based companies were applying to the Fringe annually, failing to fill the 50% local regional quota held for them (the definition of "local" was expanded to encompass all of BC).
Within a year of identifying this need, the opportunity for Intrepid Theatre to develop the "Metropolitan Hall" gymnasium at the Victoria Conservatory of Music in downtown Victoria arose, and within months, a successful capital campaign and in-kind donations of equipment resulted in the Metro Studio opening to the public. (Date?)