HomeMy WebLinkAboutTimes Advocate, 1991-09-04, Page 6Page 6
Times -Advocate, September 4, 1991
FAMILY.
Zurich actor spends successful season at Blyth
By Ray Lewis
ZURICH - For some, career
choices are the hardest one will
make in a lifetime and it takes some
a little longer than others. Zurich's
David G. Latour has yet to turn 19,
but he's had no trouble fording his
niche in life.
He first taste of real theatre came
in high school with Steve Oliver,
who runs the drama club at Central
Huron. Latour was asked to be in a
play and ended up in the lead role.
That was four years ago.
Since that time Latour has been
able to expand his horizons in the
field of drama. His list of talents
now include ceAume, set design
and even puppeteering.
"A lot of it was just being in the
right place at the right time," said
Latour. "I've been kind of lucky."
After adopting the trade of de-
signing logos for t -shirts, Latour's
work was noticed by Jane Gardiner
of the Blyth Festival. He was asked
to work on covers for this year's fes-
tival and ended up doing all but one
cover.
As work began on the pamphlets,
conversations developed with
Blyth's artistic director Peter Smith,
Soon afterwards, Latour was of-
fered a summer job as a designer
with Blyth's Young Company.
"You do one thing and the doors
seem to open because if they like
you, they keep you in mind for oth-
er projects," said Latour.
Life in the theatre has also ena-
bled Latour the opportunity of close
contact with some elite company.
One such person whose talents have
become immortal in the eyes La-
tour, is author and playwrite James
Dave Latour (left), poses with his marionette Apple Butter, fellow young company member Mi-)
chelle Carter, who holds the puppet Raven, and sister Nicole with a bear mask which won ac-
colades at the Sears Drama Festival.
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Reaney.
During a production of a high
school play, Reaney's Colours In
The Dark, Latour had the opportuni-
ty of meeting the author. Plays
which show promise are entered on
a competition circuit and as Colours
continued to rise from level to level
within that circuit, Latour and Re-
aney were able to continually in-
teract.
Reaney, being very supportive,
was enthusiastic especially after
masks, designed for the play by
Latour and fellow company mem-
ber Michelle Carter, won several
awards as the play progressed.
Creatively, the members were able
to design masks from foam which
various critics said would never
work. The group ended up win-
ning design awards at the all -
Ontario level at• the Sears Drama
Festival.
Reaney himself was so im-
pressed he mentioned a job he had
lined up restoring a puppet theatre
and said he would call.
"At the time I was skeptical be-
cause you don't expect someone as
respectable as James Reaney to be
giving you even the time of day,"
said Latour. "As if a famous au-
thor and playwrite is going to be
phoning you."
But sure enough, a few months
later Latour did receive a call and
Broken Teacup Productions was
born. Latour and his company,
which also consisted of Carter and
Latour's younger sister Nicole, be-
gan performing two Reaney plays
as a couplet, Red and Apple But-
ter. They were rewarded with in-
vitations to the London Art Gal-
lery and London's International
Children's Festival, and are still
looking for places to put it on.
Once again, while working on
this project, Latour was noticed by
David Smith, who was doing an-
other play of Reaney's and needed
some puppeteers to work with
marionettes. After a couple of
months, Broken Teacup became
involved with another company, a
husband and wife team known as
Rag and Bone, leading to the pro-
duction of Sleigh Without Bells.
The play is about the black Don-
nellys and saw Latour travelling to
Ottawa with it last week. The play
will be seen in October at the Lon-
don Art Gallery.
"I've got the role as narrator
which is really great: said Latour.
"The scary part is they sculpted the
puppet to look like me and it gives
you a kind of eerie feeling."
As a member of the Festival's
Young Company, Latour has just
finished working on The Polar
Bear Swim: An Environmental
Collective. The play was a collec-
tive in the sense that everyone in-
volved has some hand in writing it,
a lot of which was improvisation.
"You get an idea and have to go
with it," said Latour. "Improv is a
batch of free-flow creativity.
Someone says something and you
go with it, you don't contradict it."
The company eventually ended
up with a three hour play which
has since been edited to just under
an hour. Performances were given
in Goderich and Kirkton and the
company staged five shows at
Blyth.
To date, Latour said his most re-
warding work was on a play enti-
tled, The Collected Works of Billy
The Kid. The play was adapted
from a series of poems by Michael
Ondaa41e, and is rarely performed.
In fact, the author declined the re-
quests of Latour and company to
perform the play. It took to prod-
ding of Reaney, Alice Munro and a
host of other authors to change his
mind.
"I was fortunate enough to land
the role of Billy," said Latour.
"And it was the best thing I've ever
done."
Currently, Latour is taking a year
of from school but is definitely
planning a return. Next year he
hopes 10 enter Sheridan Art Col-
lege in Toronto where he will study
animation.
"But if I had to do anything over
again, I would definitely take a job
at Blyth."
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