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PAGE 14. BLYTH FESTIVAL SALUTE, WEDNESDAY, JUNE 16, 2004.
Blyth Festival, the little theatre that could
It seemed like a long-shot for
success back in the summer of 1975
when a small troupe of actors
assembled in a village of 900 people
off the beaten track for tourists to
begin a summer theatre doing
Canadian work, but the Blyth
Festival's success helped change the
face of summer theatre in Ontario.
It's hard, to remember now that back
then doing Canadian plays for
summer theatre audiences was
Continued from page 11
appreciated the fact that this young
.woman was really interested in what
they did."
Lederman says it would have been
different had she felt hostility from
the Metis but says they were the shy
ones. "It's a tricky thing because
you're always trying to decide
whether they don't want you there. A
lot of them are very reserved and it's
easy to imagine they don't want you
there at all but I never really quite
got that sense."
Eventually. Lederman says. she
got a sense that the players were
actually delighted she was there.
"You get enough to keep you going,"
she says.
When Lederman was first exposed
to the music and began to try and
learn the style she felt like she was
'learning a new language but couldn't
get the accent right. "I'd go back to
Toronto and try to play and I'd have
all the notes but it didn't feel right, it
lust didn't have the right accent. But
it comes. It's just a matter of time."
Lederman says the Metis players
also have a different technique to
hold the fiddle that she finds to be
thought to be an impossibility. Only
one other summer theatre in Canada,
the Lennoxville Festival in Quebec.
was presenting Canadian plays in a
summer setting and it was struggling
and would soon close. Even Blyth's
founding artistic director James Roy
took a "safe" route by programming
Agatha Christie's The Mousetrap as
the second play of his original season.
It drew half the audience of Mostly In
Clover, adapted from the works of
quite akward. Up until doing this
play Lederman didn't .even try the
Metis technique but now that she's
portraying the fiddlers on stage she's
attempting it. "I'm actually trying to
sit like they sit and hold the fiddle
like they hold it and it does get me
closer to the sounds of the
individual players."
Every player sounds slightly
different and Lederman says her
challenge is to figure out how to
Johns notes
Continued from page 12
creation by dedicated teenagers. The
program has opened doors and
created opportunities for young
people, though Johns laughingly
wonders, "What have we been
responsible for" in getting so many
young people involved in theatrical
life.
Listing the Young Company, the
art gallery, the Festival Singers choir
and the Blyth Festival Orchestra,
Johns says the Festival has done
well in making itself a community
centre.
He also says he's seen a real
local writer Harry J. Boyle and that set
the Festival's course of doing plays for
local audiences.
In 2004. of 29 theatres listed in the
brochure for the Association of
Summer Theatres 'Round Ontario, 18
were performing at least some
Canadian work with six besides Blyth
featuring predominantly Canadian
scripts.
The risky business of developing
new scripts was even more daring for
make them all characters on their
own. "I just have to think, I know
these people and if I think about-
them and keep their image in my
mind then I can do them justice."
Although the Metis style of
fiddling is somewhat different,
Lederman says fiddlers and people
who like fiddle music will enjoy it.
"It's got the drive, it's got the spirit
and the infectious character I hope
people enjoy."
changes
change in the community from
the early days when people didn't
quite know how to deal with these
strange creatures who came to work
at the theatre, to a place that is used
to people coming and going and
seems to look forward to the arrival
of the theatre company each
spring.
All this has grown up over 30
years in Blyth when, if the founders
had hired a market researcher back
in 1975. he would have given them
dozens of reasons not to locate a
theatre in the community, Johns
chuckles.
the Festival when it started. Even
Lennoxville was producing plays that
had been successful. elsewhere.
In 2004 several theatres such as the
Thousand Islands Playhouse in
Gananoque also frequently premiere
plays.
In 1975, those summer theatres that
existed in Ontario were generally in
traditional tourist areas like Muskoka
and Grand Bend. The idea of
performing summer theatre in a small
inland farming village went against all
conventional thinking about locating a
professional summer theatre.
The success of the Festival brought
many delegations to Blyth for advice
on how the theatre had beaten the
odds. As well, when Blyth toured its
plays to town halls in other
communities in the early 1980s. it
helped establish the idea of a theatre
in Drayton which eventually became
the immensely successful Drayton
Festival.
Today there are professional
theatres in places like Millbrook, Erin,
Port Hope, Picton and Morrisburg. Musician became welcomed guest
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