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the atre Deep Cove Stage Returns To Nest by Debra Drayton The Deep Cove Stage Society was bom in 1974. the brainchild of Gillian and Trevor Adams, English transplants to North Vancouver. The couple began their commun.it> theatre involvement with North Vancouver Community Players, then started Deep Cove Stage as part of the District of North Vancouver's community school program. It first operated out of Burrard View School, then moved to Windsor Secondary for a time. In 1978 Deep Cove Stage incorporated as a not-for-profit amateur society and rented the old fireball in Deep Cove from the District for the princely sum of $ 1 .OX) per year, plus operating costs. The company performed there until the hall was reclaimed and torn down in 1987 as part of the District's urban renewal program. Since then. Deep Cove Stage has been "homeless", renting space for rehearsals from Seycove School and the Parkgate United Church and staging their other productions at Presentation House. According to Pal Garland, a founding member. Deep Cove Stage's first production was a marvelous melodrama called "Dirty Work At The Crossroads". The company has since become known for British drawing room comedies, farces and pantomime, a Christmas tradition in England. Since 1981, 'panto' has also become a distinct tradition for Deep Cove Stage audiences too! The ·panto', not to be confused with mime, is a fractured, farcical fairy tale told in the old \ audevillian style of joke, song and dance. The principal female roles are played by men and the male roles by women, thereby setting up hilarious situations. Audience participation is encouraged and delighted audiences have been booing the bad guys and cheering on the good every Christmas. The proceeds from this mainstay supports the society for the year's other endeavours. The society's accomplishments are growing. It first gained recognition for best company ensemble in the.1979 Theatre B . C . Spring Drama Festival with "The Indian Wants The Bronx". In 1987 Maureen Robinson's play "Plantation DeSade, Or How To Poison Ivy" was chosen as the best production. In 1991 "Journey's End" swept ihe board for best production, actor, supporting actor, and set design. The members also pride themselves on excellent staging and the use of special effects. For example, rather than use taped effects in "The Ghost Train", they followed the original stage directions, which called for "two men with garden rollers". According to past president John Fonest, audiences experienced the authentic feeling of being on board a train as the entire building trembled with Ihe shaking, rattling and rolling effects created. During the 1990 Spring Drama Festi\ al the) surprised the audience and Theatre B . C . adjudicator John Krich alike with their "garbage monster". a moving mound of murderous garbage in "The Greening O f David Browne". They tantalized audiences with the mouth-watering smell of bacon wafting on the air. then shocked and stirred their emolions with the exploding trench finale in "Journey's End". Manx talented actors, playwrights and stagecrafters from the Deep Cove Stage membership have gone on to secure niches lor themselves within the professional community. Jonathon Pallone and Gerry M c K a y are recognized actors in Vancouver. Lori Dungey has become a talented theatre sports actress, and Jon Garland is now a freelance lighting technician in Toronto. Catherine Caines went on to found Presentation Theatre School for film and theatre. Gillian Adams moved on to the Stratford Shakespeare Theatre Company in Ontario, and Maureen Robinson continues to gain recognition as an award winning playwright. Long standing members, such as the Forrest family, have continued to develop and nurture Deep Cove Stage Society; and Ann Booth, a dedicated and creative woman, produces most of the shows. Deep Cove Stage eagerly anticipates Spring 1992 when they move into their home in the new Cultural Centre. The centre includes a theatre, art gallery and meeting rooms and is a tribute to the support of the community and the dedicated people on the board of the Deep Cove Cultural Society who have worked long hours to generate the funds for this endeavour. The space will be shared by four other member arts organizations. First Impression Theatre, the Heritage Society, the Seymour Art Gallery and the Chamber Music Society. Deep Cove Stage Society members are proud to be part of this achievement and look forward to new challenges and encouraging the community to experience and participate in all aspects of live theatre. Deep Cove Stage exists due to the efforts of a handful of enthusiastic volunteers, and there is a great return on the investment of volunteering one's time within amateur theatre. Opportuniti that are otherwise scarce, costly or unavailable to most of us with ihe desire to learn about live theatre. Ii comes with the bonus of enjoying the company of talented and enthusiastic people working toward a common goal. Once in the new Centre there will be opportunities for people of all ages and backgrounds to become involved on the Board or one of several committees on script selection, front of house, production (including set design, special effects, costumes, makeup, etc.). events, publicity and promotion. If you would like to join, or learn more about Deep Cove Stage, please call the Cultural Centre. 929-5944, or Debra Drayton. President, 421-4857. A Day In The Life Of Set Designer Pam Johnson : designer, and North Shore resident Pam Johnson seldom has to pound the pavement applying for projects. With her solid reputation and many awards to her credit, she is usually approached because either the director or the company wants her. The creative process starts with reading the script and two or three intensive brainstorming sessions with the director. Then, keeping in mind such physical limitations as the Mghilines. storage and the fly system of the theatre. Pam settles down to build a rough model which incorporates all their ideas. The model becomes the leaping off point for the many changes that will occur. Some designers who arc adept drawers produce a detailed sketch at this stage. Pam laughs. "Cameron Porteous once said I would never be a set designer because I couldn't draw. Three years later he was hiring me to design for the Shaw Festival." Now Pam finds that many directors prefer to use a model because they have an easier time making changes if the set is in 3D. Pam's training and experience are constantly being called into play. There is usually lots of research: into the period and social context in which the play is set, into fabrics, textures and colours. If she is doing costumes as well, Pam's research includes the silhouettes and style of clothing. A good running dialogue with the lighting designer or the costume designer I if this is a different person) is an essential part of the process. A n d there is always the "people factor" - dealing with the many personalities, the actors and the technicians, affected by the design decisions. Sometimes Pam's suggestions even have an important influence on the script - it was her idea to introduce the symbolically important mechanical rat when the curtain rises in "The Miser". Once the concept is finalized and approved. Pam does the technical drafting. She develops all the details and dimensions so the carpenters can build the set. Finally she oversees the execution of her vision right through rehearsals until the curtain rises on Opening Night. · .. . uh with r