The Citizen-Blyth Festival 2002, 2002-06-05, Page 17ArriAlriralfrifIk ll'arWIMiCalllierriiiii117iiilltYliglrrilirdlirligirriinalr7i'Ilk1 NNW
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BLYTH FESTIVAL SALUTE, WEDNESDAY, JUNE 5, 2002. PAGE 17.
Making the ma is of the stake come true takes work
Magic makers
The crew at the Blyth Festival are among those who help make the magic of theatre happen, and
they have a lot of fun doing it. This year's crew recently took time out to dress up for their photo.
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And so the magic begins again. A
blank piece of paper will be
transformed by inspiration into a
script which will be interpreted by
actors, directors and designers,
which will be performed in a
beautiful setting constructed by a
team of skilled theatre artisans. A
simple idea becomes a living piece
of art to thousands of people.
Such is the magic the Blyth
Festival has been creating for 28
seasons, turning the ideas of
playwrights into a living world all its
• own. The Festival has done it so well
that it attracts some of the best
writers, actors, designers and
technicians in the country to work
for three months in the little village
in the country.
Theatre begins with the idea of a
playwright — it may be inspired a
memory of his or her past, a story
past down by generations or a
clipping from today's newspaper.
Often a playwright will take that
idea and a rough outline to Anne
Chislett, the Blyth Festival Artistic
Director. If she thinks the idea has
possibilities she may "commission"
a play, providing the author with up-
front money to continue working.
Developing that idea into a play
takes skill, hard work and
dedication. Once a first draft is
submitted, Chislett begins to work
with the writer to strengthen the
work. Often workshops will be held
with actors reading the parts to let
the playwright hear the work. Often
actors can make suggestions to
strengthen character or plot
development.
If a play progresses sufficiently for
Chislett to choose the play for her
season, she will assign a director and
set and costume designer to the
project. They will work to come up
with a setting the helps express what
the play is about and gives the actors
an interesting platform for their
work.
The designer, once his or her
design is accepted by the director,
works with the set builders and
costume department to bring the
ideas to life. A lighting designer
looks at the set on stage and decides,
with the director, what lighting
effects should be added.
The actors meanwhile have been
reading their scripts to find all the
little clues that will help them make
their character real. The director
helps them discover their character
and works to develop a common
style for the play.
Both the actors and director work
with the playwright to make
revisions that will make the play as
strong as it can be.
All the elements come together in
the final rehearsals on stage when all
the technical and costume problems
are worked out.
And finally, on opening night the
audience shares the magic.