HomeMy WebLinkAboutClinton News-Record-Blyth Summer Festival, 1980-07-03, Page 24One r of the Most exciting
things about :Blyth..Sumxner
Festival for set and:costume
designer Fat $cod,; is . the
Canadian: plays in this year's
P,rogratn.
-► `Because they are Cat-
adiaiiplays that I can under-
stand as a Canadian, as :a
designer, 1 have much'.more
to contribute to the product-
ion," Ole sax
A graduate from the Uni-
• versify. of Alberta where she
received specific training for. Mlssus, I'll .Be Back For You;.
#i�
*treand- design,014_Before Midnight and St. Sari -
� Pat
it is important to understand of the Nuke Pile,
acting and how a 'play "When I came- back this
functions to be a designer. -ry. year, I felt like I'd never •.
"If you don't understand a .left,." she said, "The people
.play,• how you work a play, --;,are so friendly."'".
how, you build a play, you're She describes St, Sam as
nowhere." being the most challenging
Pat, who worked ' as a play for her this: year with a"
designer at the Blyth festival great deal of work research,
twn years. ' ago, will lie' ing nuclear .power plants,
i or dng on . set and costume. `We , toured the Bruce
designs for John and the Power pl.ann andnow l'm:
Pat Flood's design for Sid Pettigrew, John and the Missus.
trying to put the tfi�in. gs I caw'.
there vally, on stage."
St. Sana, she.said, Is a play
Ing .to inform People' and;
in creating sets;111e to
consider what things adtually
looked :tike and what they
audience thinks 'they ,-should
IQok like.
."We are work ng , with;
people's imaginations, ---what
they , tli%lc„ nlclear power,
would be and what it really
is.W•
hat '' then becomes
important, she addded, is how
-the .production is created and
how designs flow and move.
Pat said in designing and
creating , sets, • she works
closely with Janet Amos, the
festival's artistic director.
It I'S 37 - give and- take
situation with costume and
set design., In working with
directors they talk to you
about ideas they► have, you
both talk them through and
then you work with it."
T TIES IT SETTER
Originally from Calgary,
Pat plans to make her home
In Toronto: `:,She • said she
simply likestheatre better in
Ontario,
As a designer +creating
large sets, Pat explained how
essential storage Space is in
doing a worthwhile set.
"The new addition has
made my life so much'easier
and I don't know if I would
have come' back, , if • they
didn't have it"`°'finish:al this
year," she said.
• In addition tothe need for
wingand fly spade, Pat said
the only thing she has- to
consider when designing.
sets, is that there is only a -
stage left entrance.
The Blyth.. theatre, she
said, is as professional as any
other theatre in Ontario, and
people should be very proud,
of it.
Like Pat Flood, Linda Muir
thinks the theatre ` selection
of Canadian plays will be -
appealing for - local audi-
ences. - - -
Linda, 25, will be set and
costume --designer for The
Life That Jack Built, a
collective .prciduction_: about_
the lifeand times of writer -
author Jack Maclaren.
• The play centers around
MacLaren's life - -during
World -War I,when he was a
member of the Princess Pats
and later a member of the-
Dumbells, a W.W. I 'enter-
tainment ;troupe. •
"Because i•, knew very tittle
about the war,' I: had to do a
lot of research," she said.
oing through books •
th Group of Seven t
understand the art.. an'
design of the period, Linda
said she_ gained a greater
• respect for their paintings.
- "I enjoy - . doing realistic'
sets, but,. •because in .this
play eveything changes, it..
has to be mobile and broken
down, making .. realism diffi-
cult.
• As part of a, solution to that.
problem, Linda said re.
searching paintings from the
Group of Seven gave her the
flavor and atmosphere
of that period.
Because of the structur .
the collective . play, Linda
said•there will be little time
for changing costumes off
stage and she is working on
costumes that are common to
all periods ;involved: She
added she is also working on•
a method \of changing cos-
tumes„right on stage.
Linda;.. who said she does.
not have a formal ' design -
education, is a native of
Toronto who has worked for•
four years with Theatre
Second Floor.
She describes herwork
this season on The Life That
Jack Built as challenging
and exciting.
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