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Village Squire, 1978-05, Page 41for big acting talents. For directors, there's the obvious advantage of working with the best instead of having to make do. For young actors, there's the enlightening experience of working alongside a Douglas Rain. Despite his experience in Britain and in Canada, he says it is hard to compare theatre in the two companies. We have our Stratford Festival and Britain has the other two of the top three classical theatre companies in the world, The National Theatre and The Royal Shakespearean company. Britain has many small companies that are concentrated in a much smaller landmass than Canada so the theatrical community is closer together bringing a kind of excitment. The major difference, the one that makes it impossible to compare the two countries, he says, is the presence of the West End commercial theatre in Britain. What can help keep a community theatre in say Leicester going is the knowledge that it may produce a hit show that will go to the West End and actually make some money. In Canada, as yet, there is no commercial theatre. There is no central showcase for theatre from across the country. We have all the backup for the commercial theatre here, he says, all the writers, directors, actors and small companies, but as yet we don't have a clever entrepreneur yet to take the hit shows and present them commercially. It's such a tragedy to see a show end after three weeks because the small theatre has another production to open and can't extend the run any longer. he said. The answer is larger commercial theatres where the show can move on for a longer run. The ,problem, besides the lack of people with money to back the shows in a long run, is lack of theatre buildings. Still, Mr. Moss says the day of commercial theatre may not be too far off. The success of the Open Circle theatre in Toronto which moved Primary English Class from a small space to a larger one and then a larger theatre again for several months is an indication of things to come. Longer runs are important for actors too, he said. because during four weeks of rehearsal and three weeks of production an actor can't get the chance to really be able to live as the character he portrays. Even at Stratford an actor may only perform about 50 performances in a role, the equivalent of two months of run, much shorter than in commercial theatre hits on Broadway or the West End. Canadian theatre in the last year or so has seemed to be coasting after its breathless period of growth in the early 1970's. The next wave of excitment may indeed be generated by a coming of commercial theatre to supplement the smaller theatre operations. Whatever the next move in Canadian theatre Peter Moss is back home to be a part of it. And though he enjoyed his life in Britain, he says he's glad to be back. NEW SEASON ANNOUNCED AT BLYTH Artistic director James Roy has announced the new season at the Blyth Summer Festival, the longest and largest ever. The Festival will open July 7 and run to Sept. 2 and perform five plays all of its own production. Last year there were seven plays presented but three were guest productions. Three Western Ontario playwrights' works will be presented. The Festival will open with The Huron Tiger, by Londoner Peter Coley a "rollicking adventure" as Tiger Dunlop, legendary Western Ontario pioneer aristocrat battles the Canada Company, corrupt politicians, rebels and his housekeeper. Blyth playwright Keith Roulston's black comedy His Own Boss is the second production, opening July 11. It deals with the frustrations and headaches of running a small business plagued by government bureacracy, a staff that leaves something to be desired and a relative fired by socialist zeal. Mitchell native Ted Johns will write, direct and star in his one man show called The School Show dealing with the , progress(?) of education from the little red school house to today's education factories. James Nichol from Paris, Ontario is author of the fourth production, Gwendo- line, a drama centred on a fascinating heroine and dark forces of love and jealousy. The fifth show has not been named as yet. THEATRE LONDON ANNOUNCES SEASON Meanwhile Theatre London is still in a shambles due to its rebuilding program at The Grand theatre, but it has already announced its 1878-79 season and began a subscription drive. The theatre will have both its Grand and new McManus Studio Theatres in operation. The big Grand will lead off with Kiss Me Kate, the musical by Cole Porter, Bella and Samuel Spewack from Nov. 22 to Dec. 9 Rope, by Patrick Hamilton will play January 3-20. Otherwise Engaged by Simon Gray will play from Jan. 31 to Feb. 17. Artistic Director William Hutt will star in John A. --Himself by Timothy Finley from Feb. 28 -March 17. That will be followed by Same Time Next Year, the hit two -hands by Bernard Slade starring Dawn Greenhalgh and Ted Follows from April 4 to 21. Theatre London's Young company will be featured in the final performance of the year, Little Mary Sunshine, a musical directed by William Hutt. At the McManus the first production will be The Marvelous Magical Circus of Paddington Bear with book, music, lyrics and direction by Blaine Parker. The show runs from Dec. 27 to Jan. 20. Oscar Remembered will play at the studio Jan. 17 to 20. Theatre Beyond Words will guest Feb. 7-10. Rogues and Vagabonds starring Marti Maraden and Nicholos Pennell will play Feb. 14-17. There will also be children's theatre every Saturday morning from Jan. 27 to March 17 at the studio theatre. Design for a Sophisticated few. The lamp . in soft jade ceramic, highlighted with a white loquer shade, about 27 inches tall at '90.00. The Wall covering is Rushcloth, hand woven in the Orient, for the refined interior at '24.50 per single roll. Personal Consultation and installation available by appointment only. "More than a decorating resource, The Raintree is an attitude." LIGHTING, WALLCOVERING, FINE ART & ACCENTS One Twenty Eight Albert, Clinton 482 3871 VILLAGE SQUIRE/MAY 1978. PG. 39.