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HomeMy WebLinkAboutThe Citizen, 2005-06-29, Page 5BLYTH FESTIVAL SALUTE, JUNE 29/30, 2005, PAGE 5
Speaking of
history
Shawn Kerwin, designer of The Ginkgo Tree will
regularly since that time. She is now
an honorary artist at the Festival.
This year she designed the set and
costumes for the opening production
of the Festival, The Gingko Tree.
Spirit of the Narrows, which she
designed for last season, will return
to wrap up the season.
She continues to work at Blyth
despite a hectic schedule as head of
the theatre program at York
University as well as designing for
productions in Toronto. She was
recently nominated for a Dora
Mavor Moore Award, the top award
in Toronto theatre, for her costume
designs for Sr. Christopher. She also
designed two George F. Walker
shows at Factory Theatre before
coming to Blyth.
For reviews on Blyth
Festival shows after
they have opened
check:
www. northhuron. on.ca
reminisce on long history at opening night dinner
Shawn Kerwin will take on a
totally different role at the Blyth
Festival when she is the guest
speaker at the gala opening dinner
for the 31st season. June 30.
Kerwin has been involved with the
Festival for many of those seasons as
a designer of sets and costumes. She
brings a unique perspective to her
role as speaker.
In 1977 she recalls painting sets
outside, near the arena and having
flies stuck in the paint. It was a time
when there was no backstage or no
set construction shop as there is now.
“It was a lot less sophisticated."
Kerwin said in an interview in 2001.
Kerwin has been coming back
Seat ‘Ulisfits to- tAe
Heitiual an 31 d S-easait
Midnight version that
began it all revived
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play to go into the marketplace. He
has certainly earned that kind of
recognition."
Finally., by the time one has
reached middle age, parents are
generally there to offer continued
support and periodically remind of
what's better or more important.
Having heard Roulston mention
his preference for the original
production of Peter Colley’s I'll Be
Back Before Midnight, which
Adrian Churchill and Suzanne Roberts Smith rehearse a scene
from the comedy The Ginkgo Tree.
premiered at Blyth in 1979 rather
than the altered, more familiar,
script, Coates contacted Colley to
get a copy.
Coates liked what he read. “I don’t
know why the specific changes were
made, but the popular version does
have a much more surprising twist.
However, it robs me of an important
connection with the characters. It
doesn’t make me feel better about
someone winning, but rather like
everyone’s lost. With the original I
know distinctly where my
sympathies lie.’’
“As an overall comment of Peter’s
theme on the fear of the unknown,
the original is much more clever at
hitting that on the head.”
Coates has been preparing to
direct Midnight by watching
Hitchcock films. "I’ve never been a
student of gothic. But I can really see
where his influence is. Rather than
resolving neatly it leaves you wide
open for the sequel,” he chuckles.
“It leaves the possibility of this
terror continuing, the audience
hungering for more.”
And can we expect, like
Hitchcock, a director’s cameo? “1
could be the ghost,” Coates laughs.
“But no, this year you’ll only see me
as the one haranguing the audience
at the beginning of each
performance.
Stirring up support for those
‘babies’ on stage. Just like any good
parent.
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