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originally published January 2008
With more then 200 productions around the world, Salt Water Moon is one of the hallmark theatrical contributions from Newfoundland and Labrador. Our Gone with the Wind of sorts, the Globe and Mail described it as “an old-fashioned love song that is as affecting, funny and as evocative as a dream.” It tells the story of Mary who is a teenager with “steel in her heart,” but when her ex Jacob returns from Toronto he decides to try and win her back, except she’s engaged to a school teacher. The story unfolds in Coley’s Point back in 1926 during the month of August and the production will feature a fully custom built set. With the production running right through Valentine’s Day, this story of rediscovering love might be best offered up and shared with that special someone. Current caught up with the production’s producer from Theatre St. John’s, Keith Pike for more details on what you can expect!
Can you tell me about Theatre St. John’s?
The idea for Theatre St. John’s was born at a fundraising gala in October of 2007. The gala showcased some of the finest actors and singers in the province. This diverse talent within Newfoundland inspired the creation of TSJ.
We are committed to growth and development, following our mandate. Our goals are to produce professional-calibre theatre; to produce and workshop new pieces from within the province and Canada; and to nurture the talents of up-and-coming actors and directors from across the province and across the nation.
With the young people of Newfoundland and Labrador in mind, we will also enact an educational initiative. Our casts and personnel will work one-on-one with high school students in and around St. John’s to foster the development of their talent.
Why this ‘classic’ script?
Salt Water Moon is play known internationally, one of Newfoundland’s greatest hits. I thought it was a good time for it to be produced in St. John’s.
Is there anything in the script that attracted you to produce it, personally?
When I studied theatre at Sheridan College I did a scene study of the play and immediately fell in love with the characters and their story. Jacob and Mary are funny, smart, bashful and endearing. Who wouldn’t fall in love with them!?
How did you and Petrina come together for this production?
Petrina and I worked on a show this time last year with the company. It was then that I approached her about directing the show. A year went by and many chat’s later, here we are! I’m thrilled to have her on board!
What can people expect from the show?
People can expect a beautiful play - Colin (Jacob) and Willow (Mary) are perfect for their roles. They bring so much to the table and to their characters – they are truly 2 of Newfoundland’s finest.
Who created the lighting design?
Brian Bishop is our lighting designer, it’s my first time working with him. I’ve seen his work with c2c – I’m a big fan.
What was the casting process like?
We held auditions last June, however Willow and Colin were out of town for them. Petrina had worked with Colin and Willow prior to Salt Water Moon and thought they would be perfect for the roles and Petrina was right!
How can people check out the production?
Salt Water Moon will run from February 11th – 15th with a curtain time of 8pm at the Majestic Theatre. Tickets are $20 and are available at the Holy Heart Box office or by calling 579-4424.
originally published November 2008
“A boat that floats on air has no heart,” Jack (John Dartt) says aboard the Miss Tilley, the rumrunners boat on which the entire play takes place, in the round, for Berni Stapleton’s latest comedic but historically relevant and poignant masterpiece, A Rum for the Money. The show had a long ‘rum’ itself, featured from June to September at the Gros Morne Theatre Festival before a final run in the capitol city.
The show is about Jack and two other men, Jim (Evan White) and his Uncle Frank (Colin Furlong). Jack and Frank were the seasoned experts of rum running but took Jim, a boat builder who’s afraid of the water, along for his young strength. Their conversations made references to life and culture of Newfoundland – the ‘divide’ of people smoking rollies versus tailor-mades, Hard Buns, “that’s a raisin bun without the raisins,” Tibbo’s store and Foote’s Taxi – not only helping to familiarize an audience with the setting but also the men themselves. The references weren’t overkill; interestingly, women so often wonder what men would say in the place of chick-chat and this seemed to be it.
They shared their stories as a way of allowing one another to get to know them. Though Dartt is from Halifax he can certainly talk like a Newfoundlander. Though the stories it was evident that while they are all quite different and rum running for their own reasons, they were all struggling against something. Uncle Frank is plagued with forcing doubt in his own polished abilities with no cause immediately given. He references his hateful wife but is on the run to afford her “one of them new fangled rotary phones.”
Jim’s reason is a baby on the way with his wife Lizzie whom he’s madly fallen for. Although his excitable and sometimes overactive personality is charming, Lizzie’s patience with him is clear by how he speaks of her. Teaching him to read and write, he shared, she said that “a man can’t be expected to learn all at once ‘cos his head’d get stogged!” Jack’s mission for the money is to move to the big city (St. John’s, not New York) and go out on Saturday, church on Sunday and Bingo on Monday, but the real prize will be his new dentures – “the good kind – the kind that fits your mouth.”
On the voyage back with the rum the three face perils of nature, being ill-prepared and themselves. The set was designed with half a dory cut to be creatively used for the entire show. The old boat’s wood creaked when the actors moved around on it which kicked up the ‘real’ factor. There was an engine aboard for which there was sound when it was being started but once it was ‘running’ the sound cue ended there was a calm silence again. Having a low hum might’ve been monotonous on an audience for as long as it would be needed but a faint sound of water rippling along the boat now and then might have held on to the realism. Vocal tracks leading in and out of the acts were good and a story told in act two by Frank with Jim singing underneath was surprising and beautiful.
Overall the show was very entertaining. The only beat missed was when a cobbled together wooden cross made in the darkest hour tumbled off the boat but it was handled with grace. The full package of ambient blue lighting, punchy and thoughtful script, the set and performances did an excellent job of dramatically telling the stories of three rumrunnin’ men and taking it’s audience back in time for an evening.