HomeMy WebLinkAboutThe Citizen, 2011-02-10, Page 23THE CITIZEN, THURSDAY, FEBRUARY 10, 2011. PAGE 23.
Several new faces could be found
around Blyth last week as actors
from Stratford and Toronto and
playwrights from Calgary worked
on Ottawa Street, a Canadian play
set in Regina.
Clem Martini and Cheryl Foggo
travelled to Blyth from Calgary to
work on the play, and take advantage
of the space and actors pulled
together by Eric Coates, Artistic
Director at the Blyth Festival.
The work was unusual, according
to Coates, because they typically
have familiar faces or playwrights
working on their material through
similar workshops.
“This is unusual in the fact that it
is not a Blyth Festival project,”
Coates stated. “[Martini and Foggo]
came in to work and see where it
takes us.”
Both playwrights agreed that it
was good to get out of their normal
stomping ground and get fresh
perspectives on their work.
“It’s good to come to a new
community and get a fresh sense and
fresh voices on the play,” Martini
stated. “There is a different fabric
and different players, depending on
location. It’s good to see how that
can affect a piece.
The trip was a unique opportunity,
according to Foggo, to see the
country.
“I’ve never been to Blyth, or even
London,” she said. “We came to be
outside our community.”
Both playwrights agreed that it
was good to have people who aren’t
familiar with their other work to
help with the project. They said it
was good to not be pigeonholed.
“This play is a bit of a departure,
so we’ve done it somewhere secret,”
Foggo stated.
“We don’t want it to be decoded
by people familiar with our previous
work,” Martini stated. “We want
people to say “What’s going on?”,
not “What’s going on compared to
[our] previous works.”
Coates agreed, stating that the lack
of previous experience creates a
good environment for artists.
“The first time working with a
new playwright is good for both
actors and playwrights,” he stated.
“There are no preconceived
notions.”
Martini also stated it was good to
come to Blyth, which is unique in
that the theatre is part of the local
economy, instead of an afterthought.
“I think it’s really interesting to go
somewhere where the cultural
industry is important to the
economic impact,” he said. “It’s
great to see a place where the theater
is an important part of the economic
fabric.”
Martini went on to say that North
Huron is unique in that art isn’t just
something that is funded by the
community, but also generates jobs.
“It’s cool to see how respected the
arts are here,” he said, adding that it
is a refreshing experience.
Foggo stated that she agreed, and
that she would love to see Blyth
during the warmer months.
“Blyth is a lovely little town,” she
said. “And I think would be a
pleasant and beautiful place to visit
in the summer.”
The workshop was important,
according to Martini and Foggo,
because they get to see their work
come to life.
“Working with the characters is a
unique experience,” Martini said.
“Writing a novel is a private and
intimate experience, but with a play,
the characters come and visit you.
It’s like a note in a bottle, you don’t
know who is going to play the parts
or what people are going to see.”
Foggo stated that seeing one of her
plays produced is one of the best
experiences of her life.
“The only euphoric experience I
have is as a playwright,” she said.
“Watching my plays come to life is
amazing.”
The play is about two sisters from
the only African-American family in
Regina during 1944.
“[The sisters] struggle with
various issues,” Martini explained.
“And the play follows them as things
change when someone new comes to
visit.”
The play explores themes like the
isolation of community, family and
individuals, and watches how things
change.
Regina was chosen because Foggo
and Martini wanted to pick a place
that isn’t seen very often in
plays.
“You sometimes get a sense that
stories only really happen in a few
places,” Martini said. “In film, for
example, things usually happen in
New York or Los Angeles. It’s like
parts of the world can’t develop their
own stories.”
Foggo stated that Canadian theatre
development is unique in that it
doesn’t limit you to where you are
from.
“Canadian theatre allows you to
be from one place and work
elsewhere,” she said. “The home
theatre doesn’t stop you from
working, and play development is so
special to [the Canadian theatre
community].”
Actors Lisa Codrington and
Audrey Dwyer embodied the two
sisters during the workshop. They
hail from Toronto, but are originally
from Winnipeg.
Jonathan Purdon, from Stratford,
originally hailing from Toronto,
along with Coates, filled out the
remaining roles.
Coates, who assembled the group,
stated Codrington, Dwyer and
Purdon immediately came to mind
for the roles.
“They really jumped off the page.”
Coates said, adding that having
Stratford so close to Blyth helped,
because many artists can be found
between jobs there.
The actors were very excited to be
part of the process, stating that it was
great to get involved in a project like
this from the start
Through his experiences at the
workshop, Coates believes that the
play will be a success, and thinks it’s
a good fit for the Blyth Festival
Company.
“I”m definitely interested in the
future of [this] play,” he said. “And I
think it would be a good fit for
Blyth.”
Coates went on to say that he likes
bringing in pieces from outside of
his viewers’ experiences.
“[Plays like Ottawa Street] are
good for increasing cultural
diversity,” he said. “It will be very
producible.”
Artists converge in Blyth for workshop
A script brought to life
Clem Martini, Audrey Dwyer, Jonathan Purdon, Lisa Codrington, Cheryl Foggo (from left) and
(not shown) Artistic Director Eric Coates hunkered down in the creative spaces at the Blyth
Festival from Monday Jan. 31 to Feb. 2 to work on Martini and Foggo’s play, Ottawa Street.
Purdon, Dwyer, Codrington and Coates acted out parts of the play to help Martini and Foggo
visualize the play. (Denny Scott photo)
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