The Other Press

November 12

 

Madeline Kierans

 

You may have heard of the New Play
Centre. Betty Lambert’s exciting play
Jennie’s Story at the Waterfront Theatre
on Granville Island isa New Play Centre
production. But do you know why Ma-
clean’s has called it “not simply the only
game in town for new playwrights, but
ope of the major games in the country”?

t why the Globe and Mail has called it
an “incubator for the new Canadian
Drama”? What does the Canada Council
who funds most of the New Play Centre’s
activities, mean by “...the Process actually
works”? Process with a capital P.

The New Play Centre produces only
four full-scale Equity productionsa year.
These plays are only the final step in a
series of programs which develop not
only plays, but individual writing talent
at every level.

Since 1970, when the New Play Céntre
was founded, well over 2000 plays have
been evaluated by professionals with an
“eye for live theatre, not academic niceties.
Any writer. known or unknown, can
submit a script and receive (fora nominal
fee of ten dollars) a written critique by

Anounce

theatre professionals offering construc-
tive suggestions tora rewrite. Should the
author choose to continue working on
her/his play, there begins a progres

sive, long-term process from personal in-
terviews and criticism, public readings
and workshops to studio productions us-
ing audience evaluations. Since the cost
of an Equity production is as much as
$35,000, not all plays can be produced.

But they all benefit from the nurturing

changes effected by the staff, actors and
audiences at the New Play Centre. :
The philosophy behind this process is
that an excellent play is the result of
special writing skill and knowledge of
play production. By taking the author
through production, up toand sometimes
through a public performance, s/he
can experience the transition between
script and stage. The investment of time
and money is therefore in the writer. The
committment to an individual talent can
extend over three years.

The New Play Centre has also saved
many plays. Throughout their program
the work is treated as delicate and alive.
A new play is easy to kill because often
even the authar cannot see what is taking

 

Jennie’s Story; good. =

shape. It is an ideal situation for the
premiere production, allowing the play
to develop without freezing prematurely
in the box office climate or “balanced”
seasons for regular subscribers.

The Centre also provides a distribution
service-for new plays, sending scripts all
over North America. They try to match
various types of work with suitable thea-
tres. As a result, many plays have gone
on to further productions in both rau:
and television and with major companies
all over North America.

The uniqueness of the New Play Centre
is not immediately obvious to an au-
dience, as the plays and the authors are
usually unknown. Although the plays are
considered work-in-progress, their pro-
duction is professional, the acting and
directing excellent. In addition, there isa
sense of sharing in the creation of a cul-
tural context. During this current run of
Jennie’s Story, Tuesday is “Meet the Ar-
tist Night” and Wednesday is “Audience
Feedback Night”. The actors may ask
the audience for specific reactions; the
Artistic Director may explain some of
the changes that have been made; or the
the author may comment on some of her
decisions. The atmosphere is relaxed and
all comments are accepted, even wel-
comed. In fact, the most perceptive
comment will receive a dinner date with
the cast member of their choice!

This unique theatre has managed to
combine the vitality of new theatre with
the seriousness and high standards of
established theatre.

 

 

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