HomeMy WebLinkAboutSetting The Stage, 1998-06-24, Page 28By Janice Becker
Ahometown girl who moved
through the ranks and grew
with the theatre, general
manager Karen Stewart is just like
mom.
The self-described mother of the
Blyth Festival Theatre, Karen said
her job as general manager means
if anything needs attention, it is her
responsibility.
Starting 10 years ago as a part-
time receptionist, Karen soon
moved to the box office then
became office manager.
She remained through the
difficult financial years of the early
1990s and, by 1993, she was
named assistant general manager.
"There were a lot of changes
over a couple years," she said, "but
I learned the job just by being
here."
In 1996, following a six-month
stint as acting general manger,
Karen was promoted to general
manager.
"Ten years ago, I never thought I
would be in this spot. It has been a
constant challenge and is never
boring."
David James wants his
audience to come first
B eing a small town boy who
grew up on a tomato farm in
Southern Ontario,
production manager David James
believes in the intensity and quality
of theatre created in Blyth.
"That was part of the attraction
f9r me to come to Blyth," said
David, now in his third season.
"Here, they pay attention to the
audience and do it better than
many. Other (theatre companies)
have a tendency to lose the forest
for the trees."
David first came to Blyth in 1996
as an electrician after meeting
former artistic director Janet Amos
at the Factory Theatre in Toronto.
His road to that company was as
varied as his current position in
Blyth.
Before and during his time at the
University of Waterloo, attaining a
Bachelor of Arts degree in the
technical stream, David spent seven
summers at the Muskoka Festival.
"I did everything from lighting
and design to technical directing.",
He then moved onto the Factory
Theatre, staying three to four_ years
during many troubled times, where
he was the technical director.
"After meeting Janet (Amos), she
asked me to come out and play," lie
said.
This season as the production
manager, David is responsible for
all production matters such as
scheduling, budgets, maintenance
and everything that appears on the
stage.
With up to 15 staff to supervise,
including technicians, stage
-managers and two to three
designers per show, his main task is
to co-ordinate so that all work
towards the same end, he said.
"My job is to create the
realization of the director's and
designer's vision."
Of the Blyth Festival, David said
it is a great company of committed
people working in a theatre with a
colourful past.
There is attention to detail, to the
script and to the overall look, he
says. "It has some of the best
designers, actors and directors in
the country," he said.
"Blyth is a great place,
particularly for tech people to work.
It is stop along the way, the best
theatre a tech could do before
becoming involved in union work."
Beyond just the excellence of the
theatre company, David commends
the administration, board and
community for their support.
"When you enter the village and
see, 'Welcome 1998 Blyth Theatre
Crew' on a business sign, that's
something. You don't see that in
Toronto. It affects all of us."
David James: Production
manager pulls it all together.
Alan Moon
performs, directs
and creates
musical theatre
When you see Alan Moon at the
Blyth Festival he will most likely
be sitting at a six-foot grand piano
Alan is the musical director of
Hot Flashes by Paul Ledoux and
John Roby, which opens at July 24
at the Garage theatre.
This isn't the first time Alan has
worked on a Ledoux musical. Alan
was musical director for Cheatin'
Hearts.
Aside from playing the piano and
directing musicals, Alan is an actor
and composer. His directing credits
include, Minibugs and Microchips
at the Young People's Theatre, Mr.
Cibber of Drury Lane at the
Stratford Festival and CBC radio
and Still the Night at Tapestry
Music Theatre and Alberta Theatre
Projects.
tir
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PAGE 4. SETTING THE STAGE, WEDNESDAY, JUNE 24, 1998.
General Manager grew with Festival
when planning for the new season
is underway.
"The Blyth Festival has
maintained its national reputation
and is the envy of others," she said.
"When conferences are attended,
one becomes aware of the
prominence of Blyth and the
attention it gets."
"Blyth Festival is exciting and
risky because it produces all
Canadian plays. Many are envious.
We are able to spend our money on
development. Over the years, more
than 100 new plays have been
developed with one-third going on
to other theatres."
Karen foresees an exciting and
interesting season for patrons of
the Blyth Festival.
Those challenges include dealing
with budgets, payroll, contracting,
accommodations and building
maintenance. She also oversees the
fundraising and marketing
departments.
"I am responsible to the board so
I am very involved with every
committee. I look after the details,
the odds and ends."
While often detail-oriented,
Karen said one of the best parts of
her job is working with a lot of
new people each season.
"There is a lot of energy there."
Karen said her ultimate task is to
,do "everything she can to enable
the artistic director to carry out her
vision. I make sure she can do
what she wants and I take care of
everyone else."
Though many may perceive-
summer to be the busiest time of
the year, Karen said for her, the
hectic time is February and March
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