Village Squire, 1973-06, Page 6th'%f�l�tYY! i
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work in summer stock. This is highly
specialized.
"It wouldn't be good to work this
way all year round, year after year
after year because it requires a cert-
ain technique, some call it a shallow
approach. You go right to the quickest
possible way of doing a thing. And
there are some, because it allows a great
deal of spontaneity who excell. A lot
of shows are sort of worn out through
this period of gruelling rehearsals and
the spark of the damn thing sort of wears
thin.
"And in these things when you get
people who really know what they are
doing and you have to have really ex-
pert, professional people, highly com-
petent people, you can do a show a
week with no trouble at all. But you've
got to have the shole core that way,
designer, director, everybody's got to
be geared to that kind of production and
then it works beautifully. It did work
for us last year and I think it will work
better this year, but it's going to take
me some years to find these people.
Because -once I find them I want them
to come back season after season.
"And when we do this the people will
love this theatre, they will love it".
Rehearsals of a new play start on
Thursday before it is due to open with
five hours, then five hours more on Fri-
day and two on Saturday. Because there
is a matinee on Saturday and we play
twice, they can only rehearse two hours.
Then Sunday is day off for the actors,
though they play a performance Sunday
night.
He studied in New York city as an
actor though "I knew I wasn't going to
be an actor. So I started working as a
stage manager, well as an assistant stage
manager. The first professional job I
had was as assistant stage manager for
one production of a show in Washington
Square. I got $25 for the job which
Then Monday with the play from the seemed to me like a great deal of money,
week before finished, they go back to re- but•I mean it involved about a weeks
hearsing the new play and they have Mon- work. I've never been so thrilled about
day, Tuesday and Wednesday and it
opens on Wednesday night.
"Now this takes some pretty skilled
people. Knowing their parts helps.
They all know their parts before they
arrive, in fact a lot of them have played
roles before. They don't play too many
roles, in other words we try to mix big
part little part, that sort of thing.
"You adapt to the situation you have
in front of you. If you have three weeks
for rehearsal, you rehearse three weeks.
I once had a production we rehearsed for
six weeks, and I mean we rehearsed
every day, eight hours a day. I've also
worked with amateur groups where we
rehearsed for months because we only
rehearsed a couple of times a week.
Last year he directed one show and
this year he hopes to have the time to
direct a couple of shows.
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a job."
He stayed with that company for a
while then went into booking tours and
administration, then studied directing in
Europe for a year at Dublin Gate Theatre.
"I did one of those sort of two-year
stints where I went traipsing around all
over Europe, looking at theatres and
working where you can".
His one year in Dublin went along
with a similar period on the continent.
When he came home he did teaching
at Guelph and in the U.S. but he leaves
the impression he was glad to quit.
"Somewhere along the line I started
directing and knew that was what I
wanted to do. And directing sort of led
to producting and so I finally got this
theatre going which is sort of a long
term ambition".
"I worked in a theatre that was not
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