The Goderich Signal-Star, 1984-11-14, Page 35PAGE 14A—GODERICH SIGNAL -STAR, WEDNESDAY, NOVEMBER 14,1984
ENTERTAINMENT
The anatomy of a GLT play
BY JOANNE BUCHANAN
When local audiences attend productions
which are staged by Goderich Little
Theatre, they are seeing only the tip of the
iceberg. They are enjoying the final polish-
ed product without being witness to all the
behind -the -scenes hard work.
A core of people from this community
dedicate long hours to bring entertainment
to many through the three plays which
Goderich Little Theatre produces annually.
And don't forget that these people are all
volunteers. They don't get paid for their ef-
forts. Amateur theatre is their hobby.
Jenny Black, director for GLT's first pro-
duction this season, has been involved in
theatre since she was a child attending
school in England. And since her husband
Chris served 25 years in the air force, she
has had an opportunity to become involved
in Little Theatre groups from Whitehorse to
Washington. Although she has had no for-
mal training in theatre, she feels she has
learned a lot from working with many dif-
ferent theatre professionals over the years
and she enjoys passing this knowledge on:
She first became involved with Goderich
Little Theatre in 1966 when her husband was
stationed at the Clinton Air Force Base. She
had a small role in a play which GLT was
putting on at that time.
When she and her husband settled in
Goderich 10 years ago, she became involved
with the group once again, playing- such
vari...di roles as Abby in Arsenic and Old
Lace, Lorraine in The Mdn Who Came to
Dinner, and even Snoopy in You're a Good
Man Charlie Brown.
She also got involved in directing, doing
such plays as The Hasty Heart, Everybody
Loves Opal, and Opal's Husband. Last year,
she directed the thriller Deathtrap, which
was the first GLT play to be staged at The
Livery.
This year, Jenny is directing Bus Stop, a
three act romance which she describes as
amusing and thought-provoking. It opens
tonight (Wednesday).
"Goderich audiences generally like com-
edies or musicals best so I hope this play
goes over okay," she worries.
An interview with Jenny reveals that she
is the type of person who, while working on a
play, lives, eats and sleeps that play.
"It's amazing the number of phone calls
you have to make, the writing you have to do
and how much youthink about the play
you're doing. I even dream about it. I guess
I put my whole self into it," she says.
If it's that much work, why does she do it?
"Because I love it. It's creative and it's a
challenge. Bus Stop is.particularly challeng-
ing because most of the cast members are
inexperienced and it's great to pass on
knowledge to them, teach them to work as a
team and what to do if they forget a line,
_how to move on stage... '
Jenny emphasizes that the director only
has one small part in mounting a play. She
says it takes a lot of hard work by a lot of
dedicated people.
The whole process begins when the GLT
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Bill Metcalfe olid Samantha McDonagh are shown rehearsing a scene from the Goderich
Little Theatre production of Bus Stop, a three act romance which opens at The Livery this
evening. (Photo by Joanne Buchanan)
"The props person has to beg, borrow and
steal. We raid many places, like CNE fur-
niture and since Bus Stop is set in a diner,
we had to borrow items from a few
restaurants in town," explains Jenny who is
careful to emphasize that it is also the prop
person's,duty to take care of the props and
make sure they are returned after the play.
GLT doesn't have a wardrobe person as
such. Over the years, it has built up a supply
of costumes for plays. However, for Bus
Stop, a seamstress was hired td make one
costume and a bus driver's uniform had to
be borrowed from a bus line in Stratford. •
The make-up person is in charge of order-
ing the special stage malpe-up required, in-
cluding wigs and beards, and must also
enlist people to help with the application of
this make -tip before each performance. •
The lighting people must get involved dur-
ing the last three weeks of rehearsal to learn
all the , cues, etc. And the prompter—
someone backstage who gives lines to the
actors when they forget them–must attend
'every rehearsal.
On top of all these people, others are need-
ed for publicity work, the ticket campaign
and even to type programs. That's , why
Goderich Little Theatre is always soliciting
the help of volunteers from the community.
executive or the director picks a. play to be At present, the group has a core of about
done. Plays are chosen from catalogues and 30 to 40 -people to draw on but these people
Jenny says generally a director will choose are not always available and sometimes the
a play that he or she is somewhat familiar same few people end up doing everything.
with. "It can be very tiring, especially since
Next, the scripts are sent for. These are manv people have full-time jobs 'and are
only received after money for the rights to
the play are paid to an agent so that the
author can collect his or her royalties.
After the scripts are received, two
separate auditions are held to accommodate
people with different work schedules. Jenny
say s it usually takes awhile after that for the
directoi to mull over his or her choices and
select the actors. In Goderich, the most
common casting problem is lack of men to
choose from for roles.
Sometimes not enough people come out to
auditions but other times there are too many
and Jenny says that is difficult because she
doesn't like to discourage people.
"Sometimes they read for a part really
well but they're just not the right age or are
unsuitable for the part for some other
reasons," she explains.
After the cast is chosen, a rehearsal
schedule is set up at The Livery which GLT
rents from the Goderich Arts Foundation,
Rehearsals run four times a week for five to
six weeks on the average. Just prior to the
performance. a double dress rehearsal is --�
held from 2 p.m. until 11 p.m. The plays run
four nights and the actors have to be at The
Livey at least an hour and a half before
each performance. So. as well as being able
to memorize lines and deliver them. the ac-
tors have to have dedication and stamina.
The stage manager looks after getting the
set built and because of a shortage of men
volunteers, a carpenter had to hired to build
the set for Bus Stop..
' The props person looks after details like
curtains, cushions, pictures, furniture and
anything the actors have to carry.
Jeep Cherokee
also involved in other groups in the com-
munity," explains Jenny. She would en-
courage anyone who thinks he or she might
be able to help GLT in one of the above men-
tioned capacities, to contact the GLT presi-
dent, Maureen Penn at 524-2308.
Everyone who buys a season's ticket is
automatically a member of GLT. Money
from theseltickets is used to pay rent at The
Livery and also to stage the productions.
*For example,, Jenny has a budget of $1,000
for Bus Stop and if she can -come in under '
that figure, it will be good. The royalties.
alone for this play are $125 in U.S. funds.
Some special sound effects which were
needed cost $17.50 in U.S. funds plus air
post. Then there is the cost of paint, nails
and wood for the scenery and any material
used for costumes as well 'as the make-up. It
all adds up.
And sometimes, because not everyone is
capable or wants to get involved with direc-
ting, GLT has had to hire professional direc-
tors. On occasion, a few professional actors
have .also had to be hired when absolutely
nobody within the' community could be
found to perform in a role.
So, next ttrrie you attend a Goderich Little
Theatre play, think about all these 'things
and perhaps it will give. you more apprecia-
tion of the effort it takes totbe entertained. have a
Oh, and by the way, Yu don't
season's ticket yet, they are still available
at The Livery box office. There will also be a
few rush seats at the door for each play.
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