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PAGE 18. BLYTH FESTIVAL SALUTE. WEDNESDAY, JUNE 16. 2004.
Memories shared from the 15th anniversary
They were younger then, when the
Myth Festival celebrated its 15th
anniversary season in 1989.
Since then sonic of the people who
played prominent roles in the early
years of the Festival have passed on.
Here are some of the memories
recalled in the June 14. 1989 issue of
The Citizen.
When they cast their minds back
to the early years of the Blyth
Festival many long-time supporters
remember the heat of the early pre-
air-conditioned days.
Helen Gowing was a member of
the first board of directors and
recalls that first opening night on
July 9, 1975 when 400 people
packed into the steam bath that was
called Memorial Hall and people
began sticking to the old varnish on
the seats that became tacky in the
heat.
Melda McElroy remembers the
heat of that first season from the
performer's side. She was one of a
number of local people who joined
the small core of professionals in the
initial Festival company to perform
The Mouse Trap. Back stage the
actors had to stand in the dark in the
tiny space behind the set with hardly
a breath of air in the heat and not
even a chair to sit on while they
waited for the opening curtain. It
was like getting out of jail to make
your entrance onto the stage she
recalls. Luckily, the character she
played died at the end of act one and
she got to go home early.
For Sheila Richards, the Brussels
resident who has served two terms as
president of the Festival, it was the
heat that got her involved in the
Festival. She and her husband
There will be additional pleasures
for those attending Saturday matinee
performances at the Festival this
summer: a farmers' market half a
block away.
The farmers' market, at the
southwest corner of Dinsley and
Queen Streets, just outside the
Festivals "Writers' Centre", will
operate from July 10 to Sept. 1 I
from 1 p.m. to 4:30 p.m. and will
regularly have five to 10 vendors
offering fruit and vegetables, maple
syrup, honey, baking and meat as
well as homemade crafts.
The market was organized
Wendell had just moved to Brussels
about the time the Festival started
and they had attended a few plays.
She -recalls especially a production
of The Blood is Strong when it was
about 110 degrees in the shade and
remembers watching attendance at
the Festival drop as the heat rose.
When a friend, Lynda Lentz who
was on the Festival board, said the
board was considering the major
step of installing air conditioning,
Sheila decided she wanted to be a
part of raising the money for the job.
The pair have, over the years, been
the backbone of the Festival's
fundraising effort.
Fundraising is among another of
Miss McElroy's early memories of
the Festival. She recalls helping
Anne Roy, the unpaid Festival
administrator (and wife of Festival
founding artistic director James
Roy) go from door to door to try to
scrape up enough donations to get
the Festival off the ground.
Doug Whitmore, one of the
original board members, says his
most vivid memory of that first
season also includes money. When a
budget of $9,000 to mount the first
season was proposed by James Roy
he thought they were crazy, Mr.
Whitmore recalls. He felt they'd
never do it. With the help of the local
fundraising, a $2,000 grant from the
Ontario Arts Council and the
surprising success of Mostly In
Clover the first-ever Festival hit, the
Festival actually showed at $1,000
profit the first season.
Part of the reason the Festival
could turn a profit that first season
was because it did without so much
and because many volunteers gave
following a successful one-
day market last summer. - Both
vendors and market shoppers asked
if the market couldn't be a regular
part of the Blyth experience so
this past February vendors came
together to see if there was suffi-
cient interest to have a weekly
market. When enough vendors
indicated they'd like to participate,
the search was on for a suitable
location. •
Several of the vendors already
take part in the Goderich market
early Saturday morning, then attend
Blyth in the afternoon.
up so much of their time. Betty
Battye was one of those volunteers.
Her son Mark was in Mostly in
Clover and she was there to help
change sets and usher and do
anything that would help (she
supervised the concessions for the
first five years).
Her most vivid memory is Ron
Ferguson, technical director, lighting
technician, stage manager and just
about everything, controlling the
lights through a series of dimmer
switches screw-nailed to a piece of
plywood.
Mrs. Battye was one of those who
opened her heart and her home to the
theatre people. Miss McElroy recalls
that because the only house available
for the actors to stay in didn't have
running water, many people loaned
their homes to actors to shower and
shampoo. She recalls with
amusement loaning her living room
to one cast member who used it for
meditation for long periods each day.
Mrs. Battye befriended actors who
felt they were on centre stage not
just when they were in the theatre
but when they were on the streets.
One of the big changes today, she
says, is that the community seems
more accepting of theatre people,
not so resentful and distrustful
although there is still some
resentment, she said.
Still, she said, there was never any
doubt in her mind after that first
opening 'night that the Festival
would be a success. The reaction of
the crowd that night made her
certain things would only improve,
she said.
Today the Festival is a success not
only in Blyth but with a reputation
across Canada. The growth of that
reputation is one of the highlights for
Mrs. Richards. Memories that stand
out for her along the way were the
first day she and Lynda Lentz signed
up 10 patrons in one day, a step on
the way to the kind of acceptance
that today sees hundreds of
thousands raised to support the"
Festival each year.
She also recalls the big step the
board took to take on the first
addition at the north side of
Memorial Hall at a cost of $318,000.
That addition is also one, of the
"scary" times Mrs. Gowing recalls.
As for today, "the budget's really
impressed me," she says with a
laugh. She- is the only remaining
hoard member who has sat-through
all 15 seasons and seen the budget
grow from $9,000 to more than $1
million. She's also impressed by the
way there are always new goals for
the Festival to shoot for.
"I keep thinking, well, we've done
everything," she says, but new ideas
keep emerging.
The improved technical standards
of Festival productions impress
Doug Whitmore. Where the entire
crew that first season was one
harried stage-manager-technician-
carpenter-electrician, today some of
the best designers and technicians in
Canada are brought in and given set
and costume budgets larger than the
entire budget for the first season.
Matinee visitors can
sample farmer's market
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