Why did you decide to try directing? -
Annette: Even at my first audition, I felt. 1- wanted
to work towards a directing role. Karla (Hennig): ‘said
I had a‘director’s eye-and Marianne needed a second
‘director. | |

Marianne; We needed directors and people had been
encouraging me to do’it for the past 18 months. I
really wanted to work with Lorna Morton. And I
wanted to. deepen my: understanding of "the actor".

What made you’
choose this play?
Annette: I read _
about 12 and
skimmed another
dozen. I was looking
_ for a play as close to .
reality as possible, [=
nothing gimmicky. I _
was looking for sub- .
stance and entertain-
ment. Under Control
was'lent to me by a.
Harbour Theatre
member in Prince |
Rupert. ‘It fit the bill
exactly.

~ Annette Canute: Sub-.
stance and entertain-
ment.

Marianne: It was Canadian. It: required two older.

female actors and I'd already decided on Lorna. It
was exciting to run across such a script. The subject

of old age intrigues me. The play confirmed my own |
experiences with a great aunt — . that old folks can _

lead such rich lives. I love history and stories and
this play allows me to, access that and share it with
an audience.

What is your impression n of directing. now?

Annette: I’m enjoying myself so far. It’s'a matter of |

having good people around you. to: ‘tie up the loose
ends.
Marianne: I love working with the: actors and my

little crew of three. All the other ends that need: to be |

tied up — set, costumes — are a bit much.

Are there obstacles you 've had to ‘overcome?

Annette: Marianne, as director/producer of 2-Night, -

has helped prevent unforseen obstacles. I feel quite
sheltered and in good hands.

Marianne: To capture the overall picture. Tt requires |

immersion into the script to. know it well from every

angle and to understand the sub-text, ’'ve combined -
Karla’s (Hennig) concept of layering a script with my

own fairly 3 intuitive creative process.

How ‘has the e play evolved since e you ‘first read the
script? me
Annette: I couldn't £ sea it scene-by-scerie until it was -
cast. I wanted to let thern do their own character- ©

‘Marianne: It’s a lot

thought.

‘building and blocking

(movements © and’

_ positions on stage in
-relation to. the set,
plot and

-other
actors), But, .I. found
myself -verbalizing
my .vision to
strengthen the char-
acters and to balance
the set; I've‘had to
intervene more than
I wanted to. - - - . Marianne Weston:
Immersion in the
script.

deeper than. I.

What do. you hope your audience will go away y with? -

Annette: That they'll be entertained. I want them to
enjoy themselves, and: to see that, despite adversity,

- we can overcome and that life goes on. .
Marianne: A nice chuckle. Anticipation of their own
golden years. A willingness to be more involved with |

old people.

Will you direct again?
Annette: Ummhum!
Marianne: ‘Not for awhile. My first love'is acting!

— Betty Barton

REGARDING Oo
ELIZABETH GO URLAY:

Elizabeth Gourlay is the author of one of. the’
Terrace Little Theatre’s upcoming 2-Nite - plays.
To her credit; Gourlay has written four books of
poetry, a book of short stories, two full-length

The Glass Bottle. The Glass Bottle will be staged
-with‘another one-act play, Under Control, at the
McColl Playhouse April 30 through May 9.

The Glass Bottle was aired on CBC radio, and
nominated for an ACTRA award. Raised in New
Brunswick, Gourlay was educated at. McGill
University, and received a Master of Fine Arts in
creative writing from WBC. She has been a
resident of Vancouver since 1950. Elizabeth
Gourlay delights i in the world of nature, and its
representation in art. She enjoys gardening,
painting and devoting to her family, including

- four grandchildren.
The Glass Bottle illustrates how rich the lives
"of two old: women can be. It revolves around:
friendship, loyalty, memories and love of lan-
guage. One of the characters deals well with

plays and a number of one-act plays- including |

reality. The other doesn’t deal with it at all.

Terrace Review — April 24, 1992 41

sept atin ef eet EI Se 6 CPT SP