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HomeMy WebLinkAboutThe Citizen, 1989-07-26, Page 5THE CITIZEN, WEDNESDAY, JULY 26, 1989. PAGE 5. Chemistry of Caravan turns dreams into reality Caravan Stage Company began as a dream for Paul Kirby and his wife Nans Kelder Kirby in 1970. Since that time the travelling troupe of performers has logged some 20,000 miles throughout Canada and the United States bringing their unique theatre into thousands of people’s lives. The Caravan which appeared in Blyth on July 23 and 24 believes in providing original plays that ad­ dress political and social issues. They combine various aspects of the theatre, such as vaudeville, comedy, circus and performance art. Their huge ‘Cosmodrome’ tent with its aluminum masts, and beautiful murals is where the show takes place. Their entourage now includes six hand-crafted wagons, pulled by 12 Clydesdale horses who are escorted by six outriders. This group travels from community to community carrying its tent, sets, props, costumes and baggage in the wagons. All the shows performed by Caravan feature magic and cosmic mystery plus the special chemistry of Caravan that turns dreams into reality. It was their dream to create a pouplar theatre that the Kirkbys say, “is demystified and accessible to a broad spectrum of people.” It has always been their desire to create an intimate atmosphere between performer and audience and it is that vision that has brought them to the present. Theatre Review Travelling troupe tours town Taking a breather in the shade from touring the streets of Blyth are Caravan wagon was pulled through the streets by two Clydesdales members of Caravan, a travelling theatre troupe that arrived in to drum up interest in the show. Blyth to present the hi-tech musical, Harvest. On Saturday, the Caravan mystique more entertaining than production BY BONNIE GROPP As I entered Blyth Lions Park on Sunday evening a strange feeling of being in another time and another place overcame me. My first impression as I approached Caravan Stage Company’s famous ‘Cosmodrome’ tent and saw the wagons and horses I was reminded of medieval times where minstrels and gypsies provided entertain­ ment for gathering throngs. Then as I studied the wagons closely I thought of the travelling medicine shows of the Old West, where colourful characters and exotic performers offered respite from the rugged isolation of the times. As my daughters and I moved into the tent I felt transported to a more familiar era - the late sixties carnv^n and early seventies. People sat crosslegged on the ground under the open sky and a young mother breast-fed her baby. Then the music began, the lights came on and we found ourselves in 1995 at the Harvest Institute, a hi-tech, new-age institute. My immediate reaction to “Har­ vest” as my eldest daughter rolled her eyes and my seven-year-old looked at me in bemusement, was that I was in for a long night. Two men had appeared in front, dressed in peculiar clothes, gavotting in a peculiar manner, and singing pec­ uliar lyrics. However, as Harvest began to unfold it made a little more sense and I found myself warming slightly to it. Watching Caravan Stage Com­ pany perform I was again reminded of the sixties when people worked together, sharing responsibility to achieve a dream they believed in. The ensemble troupe has no prima donnas; everyone works together in total co-operation. And they are all excellent performers. Unfortunately, the script leaves something to be desired, which is surprising considering the track record of playwright Carol Bolt. Its approach to confronting political and social issues was touched with humour to keep the controversial topics of surrogate motherhood, medical interference and handi­ capped people from becoming too offensive. However, and again unfortunately, the humour was itself offensive to some. Harvest is a satirical play and there are many people who either do no enjoy satire or are offended by its cynical look at life. As I watched the audience’s reaction I became aware of certain things. For children like my young­ est daughter the story-line and dialogue were too old for her, but she enjoyed the visual aspect too much to notice. The surrealistic lighting and projected images were fun and innovative. My teenage daughter felt totally lost. Having lived a relatively untainted uncomplicated life, this production was a little abstract and too often too avant-garde for her. The moments that provided the most entertainment to adults went right over her head. A group of teenage ladies beside me felt much the same way. The adults, I noticed, were divided in their acceptance. There were many who felt that it was offensive, and insulting, while others, perhaps the more jaded of us, enjoyed quite a few laughs throughout. Yet, good or bad, the production was a unique experience, often puzzling, often treading on toes, but also colourful and comical, me feeling of sitting under the stars and watching live theatre unfold before you with lights and action is novel and for that reason alone I’m glad I went. Bottoms up Members of the Blyth Young Company ’89 were on hand to offer their help in putting up the Caravan Stage Company’s ‘Cosmodrome’ tent in Blyth Lions Park on Thursday afternoon. The young troupe had to give it all they had to put the huge aluminum masts together. Heave-ho Megan Shore of Stratford has a very determined look on her face as she tries to fit together two piecesof pipethatare used in the Caravan Stage Company’s ‘Cos­ modrome’. Megan Is one of the students involved in the Youth Company Workshops at the Festival.