HomeMy WebLinkAboutThe Brussels Post, 1980-07-02, Page 27Connechons
Canadian theatre performing Canadian
1Plays is' one.reason 'Maim Bradshaw
,wanted to come and act at the, Blyth
,Summer FestiVal•
• A
'To'do material that is so indigenous to ,
a country is really important and
exciting for .rne, she said,
really'
Raised in Vanconver but now making her
home in Toronto, Diana will, be.Playing the
tarts of Jan in I'll Be Back For' You Before.
Midnight, and Joan in St. Sai of the Nuke
Pile.
Another reason Diana explains she, likes
Blyth, is the connection that can be made
between the actress and the audience.
"That becomes important'because of the
sense of communication •that is necessary
. both ways." -
A graduate in theatre from the Univer-
sky of British Columbia: Diana continued
her theatre., studies in the United States,
obtaining .a masters 'of fine arts degree at
Yale. She said she then moved to New York
city for a year, but found playing roles' hard
to find. .
"I used to think I wanted to • go back "-
there (New York) to Work," she said, "I
wouldn't now because it is 'so much easier
to work in Canada."
AlthOugh `she spent most 'of her
childhood in Vancouver, Diana said
because her father was an anthropologist,
she had ,the. opportunity to travel to the
SOuth Pacific to live as a child.
"I remember as a child being very .aware,
of cultural differences and having to fit into
these different groups," she said, explain-
inglow her ability to adapt to new
gurroundings, as a child may have"
influenced her decision to become an
Diana Bradahaw
After her stay in New York, Diana moved
back to Vancouver but soon found the
limited amount of theatre there stifling.
In Toronto for the past two years, Diana
said she has had the opportunity to, do
some commercials,, some comedy skits for
CBC radio and some minor roles for CBC'
television, alimg with acting in Toronto
theatre. ,
"Television appeals to me differently,
it's on a differnt life scale,'".she said.. "In
the theatre you have to expand slightly, N
whereas television is more self-contained.
You're dealing with• truths."
' Diana said it often takes a lot of .effort to
play a part that she is, satisfied with; She
said she often works inward in Molding a
character. ,
"I find the emotional chords that ring
dose, in a character, that can then be
expanded and eventually molded to effect
the way I walk and talk on stage."
She explained acting is a job and a
discipline, but that you have to find the thin
line between controlling 'it and letting it
actress. control you. _
A chance to someone else
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THE..BILYTH:SUMMER. FESTIYA4., ISSUE 11
Wien William (Billy) Dun-
lop first started in theatre, he
said he was attracted to an
actor's romantic opportunity
to become someone else.
"It was sort of an old
fashion romantic thing trying
to be someone else, but what
I found out, is that the
opposite is true, acting is just
different levels of myself."
Billy, a native of Montreal,
is back for his second season
in Blyth. Last year he was a
member of The Donnellys
cast. This year Billy will be
playing Howard in St. Sam of
the Nuke Pile, Sid in John
and the Missus and he is part
of the collective production
called The Life That Jack
Built.
"In places like Toronto,
you don't feel as connected
with your audience, like you
do in Blyth," he said, ex-
plaining why he returned this
year.
"For many theatres in
Toronto,- it is Still a social
function," he said, adding
that at Blyth the theatre is' a
lot more personal.
Along with the theatre's
design and the choice of
productions, he said this•
year's cast 'is also part of the
theatre's appeal.
"They're people who have
been in the business a long
time and are fine, fine act-
ors,P he said. "You trust
them, they, have their heads
on straight."
Although he has partici-
pated in a collective produc-
tion before, Billy said he
sometimes finds them diffi-
cult to do.
"Collectives are interest-
Billy Dunlop
ing, there are days where
: you do really well and other
days - nothing," he Said,
explaining a collective is
formed through a contri-
.button of ideas from all
I involved individuals and per--
*; ormed with an impro-
visational format.
Billy said he first started
acting in Montreal, in a
summer stock production
making $60 a week and
' working 14 to 18 hours a day.
"And we had to do every-
thing ourselves, including
' making the sets."
He said he is glad to see
Blyth's continual commit-
ment to Canadian plays.
"People are beginning to
realize it's all here in Can-
ada," he said, adding audi-
`ences no, longer' "squirm in
their seats when they haie to
watch a Canadian play."
He added' that often the,
larger theatres don't want to
take a chance on new pro-
ductions they consider less
' commercial and "it's a lot of
smaller theatres that are
taking a beating at the hoz
office."
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