HomeMy WebLinkAboutClinton News-Record-Blyth Summer Festival, 1980-07-03, Page 27Pat :Plead create! thesdt and costumes.
A. play is More than .a combinations 'words,
movement and:music. It an illusion of timer place -and
emotion created by the pen of the author the tongue -of
the actor,and the imagination of the unsung heroes of"
theatre, the production. crew.
Working behind the scenes with sets and profs'they
so skillfully create, the production staff:includes the
talents. and efforts of a variety of people.
Beginning with the combined imaginations of the
direr or.and' designers plans` are made -for sets,
costumes .,.and ..props�
This year in Blyth; two` designers: will be
.concentrating on costumes and sets. Designing for $t.
Sam of the Nuke . pile, I'll -Be Back : For You Before
Midnight and John and the Missus, is Pat Flood: The
collective production of The Life That Jack Built, will be
designed by Linda Muir.
After plans are drawn, . models and sketches made,
the designe`s' work is placed in the hands of the
production manager, in this .case Brune Specht.,
Bruce works on safety, feasibility and schedtlting.'lt
is his; job=to make sure -all fire-and'-safe`ty :codes= are tnet__,
and that he gets the `best price for materials and
equipment:
Plans for sets are then sent off to this season's
master carpenter Peter Gerrie.: '
Peter, , fromCalgary, started working in
production about seven years ago. The last four years'
he's been,working in Alberta, but Peter has also done
work in Toronto and Hamilton.
As master carpenter, he ` follows the "planes of
designers Pat and Linda;' constructing backdrops and
Scenic painter Grace Nakatsu cuts out backdrop
Just completing her .second year at Ryerson, Grace
said it ;is the combination'of art and technical skills that
she likes about' the work.
Toin Feeney rakes through scripts to carry out his
job as props master.
A graduate from the technical production course at
Ryerson, Tom said "he readsthrough the scripts in
production and lists all the .props needed.
"Most of the props are finds, anything that is thrown
out as junk," he said.
One of the most difficult props to.find for this seasodn
is an old pocket watch, added Tom.
•
While Peter, Tom and Grace are painting, cutting
and nailing together sets and props, down the hall,
costumes are being cut, sewn and ironed.
This year working as costume --mistress and cutter, is
Charlotte Dean.
A theatre production student at York University,
Charlotte comesA'Blyth after spending six weeks in"
Stratford workin din `"the od edecorating � , ry c,. �.m and
painting shop at the'festival theatre.
Along with her work in Stratford, ' Charlotte has
worked for the National Ballet and the Guelph Staring
Festival: •
Spending her first year as a seamstress fok the
theatre festival -.is Joanne Passchier,,a„ native of Blyth. ,
-panne is an audio-visual studAnt from the University
of Guelph.
While sets and costumes are .being molded, Jim'
Boudreau, master:electrician works in the.theatre
production, Jim oversees lighting for 'all the shows.
Working between all locations is Michael Cleasby.
Michael is working this year as productionsassistant.
On opening night; when the curtain rises. they'll be
ready and like the directors, -actors, and.writers, their
combined talents will help create the illusion called
theatre.
sets.
Working with Peter, is this year's scenic • painter
Grace ,Nakatsu.
Originally from Toronto, Grace has been working as a
scenic painter for about two years, last summer
working for the. Huron Country Playhouse. •
Joanne Passchier puts the final touches on a costume.
Mr.
Designer Pat Flood working on
, Peter Gerrie constructs sets.