The Citizen-Blyth Festival, 1999-06-23, Page 31BLYTH FESTIVAL SALUTE, WEDNESDAY, JUNE 23, 1999. PAGE 11.
Terry Tweed has a blast playing senior citizen bomber
Terry Tweed: After years of
directing returns to Blyth as
madcap bomber.
By Janice Becker
Citizen staff
Terry Tweed is returning to the
Blyth stage for the first time since
1983 and is bringing with her an
enthusiasm for her work.
Though she has directed in Blyth
many times over the years, her
appearance as Maude, the bomber
in Dave Carley's Big Bax comedy
is something she is looking
forward to.
“It is wonderful,” she says. “I
will also be acting with Jerry
(Franken) for the first time in 30
years.”
Tweed is a veteran of theatre in
the Blyth area, having visited
before the Festival was formed.
“I was here in 1974 with Paul
Thompson and Pass Muraille for
1837: The Farmers’ Revolt when
we played in auction barns. We
rehearsed in Memorial Hall when
it was condemned. This area is
very special to me. I love it
dearly.”
Tweed finds other things
wonderful about her return to
Blyth as well. Having visited the
beach one day, she smiles with
radiance saying, “This is what this
country is. It is such a treat to
Sharing birth of a hit play
unforgettable experience
come here. This area is so
wonderful to be a part of.”
Asked what enticed her to return
to the Blyth stage after so many
years absent, her simple reply was,
“I was asked.”
She pointed out that there had
never been a decision not to act, it
just worked out that way. She has
spent much of her time in the last
20 years directing and teaching.
For her return, Tweed takes on
the comic role of a woman
between 65 and 70, determined to
seek revenge.
“She makes rampant attacks on
the big chain store as she sees them
killing small retailers and small
towns,” says Tweed.
“She is fed up and starts
bombing stores, but she isn’t very
good at it. Eventually Sam Walton,
founder of Wal-Mart returns to
earth to deal with Maude, but she
soon has him handcuffed and takes
him along.”
The story of Big Box is more
than just about putting smaller
operators out of business, but
shows what it does to the town. It
destroys the ecology of the
community, she says.
Tweed points out it is fine to
take action and sympathize with
Maude, but her actions are
ineffectual.
As Walton says, Maude is
almost 70 and there are more than
2,000 Wal-Marts. At one a day,
she can’t possibily hit them all and
besides, with insurance, they are
simply rebuilt.
“Another way has to be found
that will actually change
something,” says Tweed.
Though Tweed notes the
political aspect of the play and
hopes some audience members
will think before going shopping at
a large department store the next
time, she also says the play it
meant to make people laugh and
enjoy.
“Though politics is dear to my
soul and I love to do a political
piece, it still has to be good theatre.
The theatre must be served.”
In exhibiting the joy elicited by a
comedy, Tweed says there is a
wonderful electricity which can
happen between the actors and the
audience.
“The play can touch through
laugher and emotion and make
people care and think. The
audience completes the circle. That
is the joy.”
Celebrating our 5Oth Year
Blyth Festival audiences have an
opportunity to savour something no
other summer theatre offers: the
chance to see important new plays
performed for the very first time.
The 1999 season promises a
bumper crop of opportunities to
say “I saw it first in Blyth” as
Artistic Director Anne Chislett
gives five new plays their world
premieres.
It’s a process the Festival has
become famous for over its 25
years. Leading up to this silver
anniversary season, 75 plays have
been premiered on the Blyth stage.
Forty-eight per cent have gone on
to be performed in other theatres
across Canada or around the world.
It makes for magical moments,
particularly when an opening night
audience realizes it is in on the
beginning of something big.
Take the night back in 1979
when Peter Colley’s I’ll Be Back
Before Midnight was premiered.
The story is famous now of how
Colley, living in London, had
stayed overnight in the East
Wawanosh farmhouse of Festival
founder James Roy and been
spooked by the isolation and
complete darkness of the country.
Midnight, the play that resulted
from that visit, spooked a lot more
people that opening night and
became the first really big,
exported hit at the Festival. So
excited was London Free Press
critic Doug Bale that he came to
the cast party with a copy of the
review he had phoned in to the
paper. It predicted the play would
end up on Broadway.
Midnight never did play
Broadway but its box office has
grossed more than $8 million
around the world from Australia to
Romania, it was made into a movie,
and changed the life of Colley
forever.
The opening of Midnight was the
Festival’s second magical moment.
The audience on July 9, 1975, the
very first opening night, realized
they had just witnessed the
beginning of something big. They
were right, of course. A quarter
century later the Festival has placed
an indelible mark on Canadian
theatre as a whole.
Continue on Pg. 14
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