Interview with Rita Moir

file:///Q/Digitization/vol04/Vault_Transcriptions/Theatre%20Energy/Rita%20Moir_transcript.vtt


Transcript for Interview with Rita Moir

https://doi.org/10.58066/aebc-dw37

This transcript was created in part by using artificial intelligence, errors and inaccuracies may be present.

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Well, here we are interviewing Rita Moir, May 19th, 2023, in the the Vallican area,

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right?

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And I'll just put on this other tape recording.

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Okay.

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Now, your years of living in the Slocan Valley were from 1975, pretty well steadily

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on from there and living here. Can I ask, I'm asking all the theatre people the same

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question, what brought you here? Was it a career, lifestyle, political choice? What

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brought you to the Slocan Valley?

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Where did you come from?

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Well, I was living in Southern Alberta, just outside Lethbridge and going to the University

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of Lethbridge.

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13 Yeah.

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And we got involved with the Canadian University Press and the alternative press in Canada.

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Can I ask what you were taking at Lethbridge?

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What studies?

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Oh, God knows, probably some political something.

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General BA, OK.

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I never even graduated.

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I never even got a BA because I came here,

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ended up moving here.

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Got involved and was the editor of the student newspaper

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there, The Meliorist.

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At Lethbridge.

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Yeah, and then hooked up with all sorts of young people

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all across Canada in the student press, labor press, feminist

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press, all the presses that were happening at the time. And came

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out here for a conference, Western Canadian University press conference.

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CUP. Yeah.

And met at Springer Creek and met people here and fell in love with

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the area.

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Southern Alberta was wonderful,

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but it was very conservative.

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And I'd been involved in things there

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like the Women's Center

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and the Birth Control Information Center

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and fought those battles of conservative Southern Alberta

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and came here and here was this vibrant young community

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and building the Vallican Whole.

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And as it turned out, the Vallican Whole needed caretakers

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Yeah

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so within a few weeks we

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packed up our station wagon and moved out and lived in a tent and built the caretakers house at the Vallican Whole and
that was the beginning.

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So you were the first caretakers. And was that a job, like you were paid?

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No, we weren't paid but we didn't have to pay for land and we built a log house, you know

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It was kind of okay in a way.

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Well, we didn't have to pay any rent. Yeah, so we didn't have to come up with cash and we had our labor
and

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I was, I went through various partners there

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But I was there for 34 years as the caretaker,

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living on site for the wWhole.

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Wow, that's great.

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I guess you had no theater background before you came?

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No.

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Yeah.

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Did you see, were you aware when you came here of local theater?

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I'm pretty sure I know there were things going on.

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Well, right away there was like Reader's Theater going on,

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Women's Reader's Theater going on.

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There was a Women's Reader's Theater group.

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Were you part of that?

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No, I wasn't.

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You probably attended?

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Yeah, I attended, yeah, for sure.

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Like Linda Grabler and Bonnie Evans and a lot of the people you've talked to,

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Judith Soroli and, yeah.

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And they performed, I think it was at the first

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Western Canadian Women's Festival,

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it was held in Kaslo in maybe 75 or 76.

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Right, they did, yes.

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I think they did a play called Vicky there,

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if I'm remembering correctly.

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A pretty punchy, tough play.

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That doesn't ring a bell, does it?

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No, but I just remember all these magnificent women

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sitting on stage reading and they were just, ugh.

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Really committed.

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Oh yeah.

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Yeah, yeah, that's the feeling I get too.

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And I knew there was a local theater group

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that did Ibsen's play.

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The Doll's House.

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The Doll's House.

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So there was all of this happening.

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And there was also the women's newspaper images, which I was part of.

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And I worked on that writing for that.

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So there's just so much.

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That was the era when the voices of women were making their voices heard and

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all across the country there was publishing houses starting up. It was, you know,

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now at this age most of the people who were doing that are either aging or dead. But at that time

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it was explosion of energy, theater energy, every kind of energy,

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publishing, writing.

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Did you say you worked with images, you wrote for them?

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Oh yeah.

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Yeah, yeah. Okay, good.

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I was very involved.

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Yeah. I've seen the odd article or perhaps a copy of it in the archive.

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Yeah. Well, there's a wWhole website that has every copy. Okay.

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KootenayFeminism.com.

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It's got them all scanned.

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KootenayFeminism.com?

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Yeah.

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Yeah, I think I've...

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Marcia Brondi and put that together

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so that all the images are scanned on there.

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Yeah, KootenayFeminism.com.

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Great, I'll have a look again.

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I'm sure, I think I've been there. You look at a lot of so much stuff when you're researching.

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I'm looking at early days when you first came here.

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I'm kind of curious about Roni Gilbert. Were you aware of her and what she was doing before she got into theater
energy?

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Oh sure, because I was a folk singer. My brother and I were folk singers.

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Oh, wow. The Weavers. Yeah,

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yeah you would have known about her. So did you know her here? Like did you know? I, you know,

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I wasn't, I wasn't, I went to all the theatre energy stuff. I knew the people involved,

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but I wasn't really part of theatre energy in that way. We wrote Malefica, but I went to everything in a lot of stuff was at
the wWhole.

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I saw, I'm sure I saw every play no matter where it was.

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Can you talk about your experience of seeing a typical theatre?

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That's great, your audience, you saw all their work pretty well.

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Can you talk about the typical experience of seeing a theatre?

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Like when you went,

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what did you expect, what did you get?

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There wasn't anything typical about,

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everything was different.

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It could have been their school play

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on alcohol and addiction.

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It could have been the play they did at the Whole in Darnard.

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I can't remember the names of the various plays,

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but one of them was about,

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it had represented the Duke of War community stories

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and the young hippies and how we lived their lives voices.

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And then Bread and Circuses was at the Civic,

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I think in Nelson and it was like wild and chaotic

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and sometimes not very well attended.

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You know,

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it was tough because that was the play about

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the company breaking up and having severe problems,

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funding and people and yeah, that, funding and people. Yeah.

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That was them, kind of them.

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Yeah.

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So I mean, part of theater energy

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was that it wasn't predictable, but it was always,

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and there would be different actors involved.

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But you always had this core feeling of excitement

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and values and experimentation, and also a young community of

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sowing its oats, feeling its power, learning the skills, bringing in different people.

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Because I knew the people involved in our daily lives, whether it was like helping each other

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with gardens or whatever, but it was so of us.

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And I guess you, you sensed there was an audience

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of community, local community was coming

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and understanding it and digging it

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because it was community talking to a community.

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Yes. Not some outsider.

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But they also made a real effort to include the stories,

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not just of the young hippies who were here.

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They also did research and told the stories

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of other communities within this population.

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That's great.

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That's what I'm getting to.

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And good to

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hear that. So there would be a lot of local recognition in the audience, the

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people watching it would see themselves mirrored a lot. Well, especially our young

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new community. The other communities would possibly, well they would attend

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but not, it wasn't always their stories where it was always ours.

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Even though they made a real effort to be inclusive,

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it was obvious by looking at them, who they represented.

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Were there early shows down at the Vallican Whole?

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Well, Voices I certainly remember at the Whole,

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and I'm sure there were others there,

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but they did, for example,

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Waiting for Godot, I think was at the Whole and I'm sure there were others there but they did they
did for example waiting for Godot I think was at the wind loss school gymnasium or something I can't recall exactly
yeah so and I can't remember what else they did

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at the Whole but they used venues all over the place I think that's part of

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yeah yeah well of course yeah and they toured a lot. So you're always playing different places,

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in halls and schools, outdoors even, for Maleficat.

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So you knew Roni Gilbert.

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I did not know her.

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I only knew I met up her, and I saw her perform with them.

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Yeah.

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You did.

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You weren't to aware of her working here in therapy.

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She was a therapist too, right?

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I think, did she work at the cafe?

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She had a master's degree in some therapeutic training.

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I understand she came here first and did that,

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and was not living in the Bellicon

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so much up a way somewhere.

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And then she came down.

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Not sure how she got here and how that sparked,

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but she got involved in theater group.

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What was the play they put on at the um capital and it was uh it had the Tommy Douglas story

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was in it and Caroline Woodward was one of the writers for that. Gosh I can't remember the name
of that one.

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I don't remember that. It feels good some rust. Runs good some rust. Oh that one yeah okay yeah.
Caroline Woodward was one of the writers for that

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Feels good some rust runs good summer. Oh that one. Yeah. Okay. Yeah, that did pretty well. Yeah. Yeah, but

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Elderly people older people. Yeah

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great title

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Okay

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Now getting on to know the one show you worked in was Malefica. Malefica, yeah.

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Hang on just a second, Dan.

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Dan, can you put Piper in the panel and Ruth, Ruth called and she'll call back.

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So that's the only show you took part in personally, in Maleficat.

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Yes, Maleficat, yeah.

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Okay, yeah.

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So let's focus on that for a bit.

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Whose original idea was it?

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Where did that start?

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Where did it come from?

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Who kind of, who piped up and said, we should do, or we're going to do, or you know?

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I honestly don't remember because the three of us worked together so closely.

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Right.

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Nicola Harwood, Norma Kilpatrick and I.

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Yes.

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And we had three, it was a grant.

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And we had, I think three weeks to write the play.

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Yeah.

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And, and then it, what happened was right at that time was the murders in Montreal,

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the Montreal massacre, was right during the production, as we were writing.

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And the parallels were so incredible that at the end of the play we ended it by reciting all the names of the women.

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I see that. What a powerful piece of theatre.

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It was very powerful and Kate Weiss was the director and they brought in some actors from Vancouver
but it was local.

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It was Judith and... who all was in there? Meredith?

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I'm not sure Meredith was in there. I'm not sure.

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It's all on that. Oh, Ruby

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I can get you the names.

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I can find out too. So you're designated

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as a writing collective. You're given two weeks to produce what?

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That's not a long time. It're given two weeks to produce what? Like that's not a long time.

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It was like three weeks we wrote it and then it went into rehearsals.

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Well three weeks.

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Yeah I think we had three weeks.

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Yeah.

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And we I'd taken some playwriting workshops I think and and I don't know why Norm and Nick and

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I did it all together. I can't even remember. We just knew each other and we all did it and

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wanted to and we we we sat we worked every day in the old Student Union building. Oh you worked

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together? So what's the case of having off by yourself? No, we wrote it all together and every night we'd go home and
maybe one person was designated to rewrite and work on one section

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but we and we put up big I think take we could take in some playwriting thing that showed you've

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got to have the build up in the park and the climax and the dunumol.

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So we had great big sheets on the wall with things and we took up a wWhole big room in

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the D-TEC in the Student Union Building.

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And so, and we just worked our asses off and we had, it was a blast doing it

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and we were also using the D-TEC library at the time

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and finding the, you know, the hammer of witches,

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all the old stuff about them.

239
00:13:59.799 --> 00:14:03.039
But it was, you know, it was also the time,

18



240
00:14:03.039 --> 00:14:06.039
at that time there was a lot in our political

241
00:14:06.039 --> 00:14:11.360
and personal lives about midwifery and natural childbirth and all of that kind of stuff.

242
00:14:11.360 --> 00:14:19.759
So women were relating to all the historical role of women as healers and witches and all

243
00:14:19.759 --> 00:14:20.759
of that kind of stuff.

244
00:14:20.759 --> 00:14:22.759
So you really did the work as a collective at that point.

245
00:14:22.759 --> 00:14:23.759
Oh yeah.

246
00:14:23.759 --> 00:14:24.759
Collective of three.

247
00:14:24.759 --> 00:14:27.039
You kind of, all the writing was done in the same room, the three of you. You weren't did the work as a collective at that
point. Oh yeah. All the writing was done in the same room the three of you.

248
00:14:27.039 --> 00:14:31.519
You weren't going home and running a scene, she writes a scene then we come together and somehow

249
00:14:31.519 --> 00:14:37.200
blast it together. We might take it home at night and rework it or something like that.

250
00:14:37.200 --> 00:14:45.840
But we were, all our ideas was all fermented together in that room. That's great. Right.

251
00:14:45.840 --> 00:14:49.159
It was, there came a point where you

252
00:14:49.159 --> 00:14:50.960
had to have a first draft, I think,

19



253
00:14:50.960 --> 00:14:54.159
because you were going to send it to Kate Weese, right?

254
00:14:54.159 --> 00:14:59.519
And a feminist person, I forget her name now,

255
00:14:59.519 --> 00:15:03.000
but here's one, Judith McKenzie, a feminist historian.

256
00:15:03.000 --> 00:15:06.320
Apparently she got a copy to comment on. Kate Weese got a

257
00:15:06.320 --> 00:15:11.840
copy to correct on. And the new play center apparently got a copy. Was that David Diamond?

258
00:15:11.840 --> 00:15:16.320
Was he involved in that at all? I don't think so. He might have been at the new play center.

259
00:15:17.679 --> 00:15:27.500
But I understand those three, you know, Judith McKenzie, Kate Weiese and the New Play Center were given a copy to

260
00:15:27.500 --> 00:15:31.019
critique and comment on. So who put together that

261
00:15:31.019 --> 00:15:33.700
so-called final copy?

262
00:15:33.700 --> 00:15:38.259
Just all of you, eh? It was typed. There were no computers. It was just retyped and retyped.

263
00:15:38.259 --> 00:15:41.539
So no one person. You all just...

264
00:15:41.539 --> 00:15:46.840
Okay. As far as I recall, it was very collective.

265
00:15:48.399 --> 00:15:50.159
Norma Kilpatrick, of course, was in the play,

266
00:15:50.159 --> 00:15:51.480

20



and she was one of the writers.

267
00:15:51.480 --> 00:15:54.000
She played the role of one of the witches, yeah.

268
00:15:54.000 --> 00:15:54.840
Right, right.

269
00:15:55.700 --> 00:15:57.759
What was the nature of the feedback you got

270
00:15:57.759 --> 00:16:01.200
from the Lou Play Center, from Kate Weese,

271
00:16:01.200 --> 00:16:04.559
from Judith McGinsley, do you recall the feedback?

272
00:16:04.559 --> 00:16:07.600
Well, they probably worked with whether scenes worked or not,

273
00:16:07.600 --> 00:16:11.600
and whether putting it up would work as it did on the page.

274
00:16:11.600 --> 00:16:14.639
But both Nick and Norma were theater people.

275
00:16:14.639 --> 00:16:22.960
And by then, I'd had two or three plays produced on CBC Radio

276
00:16:22.960 --> 00:16:26.799
nationally, working with directors like John Giuliani.

277
00:16:27.600 --> 00:16:33.919
So I had a sense of how to put a play together and dialogue and all of that and movement. And so

278
00:16:34.799 --> 00:16:43.039
I don't remember them. What they did was workshopped it. It came out and workshopped

279
00:16:43.039 --> 00:16:48.139
it with the actors. And we as playwrights got to be there for that

21



280
00:16:48.139 --> 00:16:50.360
so we could take scenes back and rewrite them.

281
00:16:50.360 --> 00:16:51.539
Who came and workshopped it?

282
00:16:51.539 --> 00:16:54.120
Well, that's why I'm wondering if it was,

283
00:16:54.120 --> 00:16:56.200
I can't remember if it was,

284
00:16:56.200 --> 00:16:58.080
why I think it might have been David Diamond

285
00:16:58.080 --> 00:16:59.879
but I don't know that, I can't recall.

286
00:16:59.879 --> 00:17:01.279
It wasn't the director, Kate.

287
00:17:01.279 --> 00:17:02.480
Well Kate was.

288
00:17:02.480 --> 00:17:03.679
Because she could workshop it.

289
00:17:03.679 --> 00:17:04.519
Yeah, yeah.

290
00:17:04.519 --> 00:17:06.839
Yeah, I could see her workshop it in there because she's gonna direct it I mean

291
00:17:06.839 --> 00:17:11.680
yeah and she better better to workshop at first before rehearsals really begin

292
00:17:11.680 --> 00:17:18.440
seriously yeah right so okay Wow and so then that was done in another building

293
00:17:18.440 --> 00:17:23.599

22



somewhere in Nelson probably some church basement or something yeah and and we

294
00:17:23.599 --> 00:17:27.619
went in every day and we got to be part of it and watch it so that as the writers

295
00:17:27.619 --> 00:17:29.039
we could rewrite it to work.

296
00:17:29.039 --> 00:17:36.240
When it was being workshopped, were there actors reading it or enacting it script in

297
00:17:36.240 --> 00:17:37.240
hand?

298
00:17:37.240 --> 00:17:38.240
Yeah.

299
00:17:38.240 --> 00:17:39.240
Were they the cast?

300
00:17:39.240 --> 00:17:40.240
Yeah.

301
00:17:40.240 --> 00:17:41.240
Not the Vancouver...

302
00:17:41.240 --> 00:17:43.759
I don't think they were the Vancouver cast.

303
00:17:43.759 --> 00:17:44.759
People weren't part of it.

304
00:17:44.759 --> 00:17:45.039
I'm talking about the Alison cast, people weren't part of it.

305
00:17:45.039 --> 00:17:46.599
I'm talking about the Nelson show.

306
00:17:46.599 --> 00:17:47.440
Yeah.

23



307
00:17:47.440 --> 00:17:48.259
So the act, you actually.

308
00:17:48.259 --> 00:17:50.440
No, but then there were actors from Vancouver

309
00:17:50.440 --> 00:17:52.079
who came and were in the Nelson show.

310
00:17:52.079 --> 00:17:53.799
Yes, oh I get it, yeah.

311
00:17:53.799 --> 00:17:56.200
So you just have actors, probably local,

312
00:17:56.200 --> 00:17:58.359
doing the workshopping, okay.

313
00:17:58.359 --> 00:18:03.359
Then finally a rewrite, and a final script,

314
00:18:03.480 --> 00:18:05.180
and I guess, again, that was done collectively,

315
00:18:05.180 --> 00:18:06.720
the final script.

316
00:18:06.720 --> 00:18:07.920
Yeah, yeah, great.

317
00:18:07.920 --> 00:18:10.079
And then you cut it and then you rehearse.

318
00:18:11.759 --> 00:18:13.279
Wow.

319
00:18:13.279 --> 00:18:16.420
The play was publicized,

320
00:18:17.519 --> 00:18:19.559

24



in what I see in the archive,

321
00:18:19.559 --> 00:18:22.359
as controversial, controversial.

322
00:18:22.359 --> 00:18:24.680
Like power play or bread and circuses,

323
00:18:24.680 --> 00:18:26.960
it had a potency to it, a kind of a stirring.

324
00:18:31.519 --> 00:18:34.680
Do you agree with that?

325
00:18:34.680 --> 00:18:40.319
The parallels between the 17th century and the 20th century

326
00:18:40.319 --> 00:18:45.000
were a provocation, controversial?

327
00:18:47.200 --> 00:18:51.119
I guess I wouldn't, it was a feminist analysis

328
00:18:51.119 --> 00:18:51.960
of what was happening.

329
00:18:51.960 --> 00:18:53.799
It was certainly, I know a feminist.

330
00:18:53.799 --> 00:18:58.559
And I know when the women were murdered in Montreal,

331
00:18:59.519 --> 00:19:01.759
I was at the demonstrations on the streets,

332
00:19:01.759 --> 00:19:04.019
probably all of us were writing Malefica were,

333
00:19:04.019 --> 00:19:10.400
because, and we were being told as women, quit trying to take advantage of this for your own feminist

25



334
00:19:10.400 --> 00:19:15.519
agenda. This is not a feminist issue and we're going to hell with it. It is a feminist issue,

335
00:19:15.519 --> 00:19:19.519
that these women were singled out because they were women, because they were feminists,

336
00:19:19.519 --> 00:19:26.380
and that's exactly what happened in the stories we were writing. And it's then and now, and don't
tell us

337
00:19:26.380 --> 00:19:30.740
it's not the same patriarchal powers issues.

338
00:19:30.740 --> 00:19:34.480
And so it wasn't controversial to anybody

339
00:19:34.480 --> 00:19:36.519
who had that kind of analysis.

340
00:19:36.519 --> 00:19:39.920
And for the rest of the people who came to the play,

341
00:19:39.920 --> 00:19:44.920
it was a spectacle too, because of how it was set up

342
00:19:49.940 --> 00:19:55.299
and where it was. It was sort of like if you've ever been to the Caravan Farm Theatre, it had that
feeling

343
00:19:55.299 --> 00:20:00.680
of outdoor magic in a big tent.

344
00:20:00.680 --> 00:20:06.000
So we had the big old brain damage tent, which was a spectacular old tent.

345
00:20:06.000 --> 00:20:07.000
Yeah, to me it did, it leaked.

346
00:20:07.000 --> 00:20:11.000
It leaked, but we told people and people came and reindeer with umbrellas.

26



347
00:20:11.000 --> 00:20:12.000
Part of the fun.

348
00:20:12.000 --> 00:20:14.000
And it was.

349
00:20:14.000 --> 00:20:25.279
And then, I'm probably getting ahead of your questions, but like it was, it was a spectacular production. And just, you
know, the bad guy,

350
00:20:25.279 --> 00:20:28.640
the witch burner coming over the hill all in black.

351
00:20:28.640 --> 00:20:30.759
And it was at Lakeside Park.

352
00:20:30.759 --> 00:20:35.759
And then at the end, it was the burning on the water,

353
00:20:36.279 --> 00:20:37.319
the burning of the witches.

354
00:20:37.319 --> 00:20:39.059
It was.

355
00:20:39.059 --> 00:20:42.279
And word got out and it ran for four nights, I think it was.

356
00:20:42.279 --> 00:20:44.240
It would have been a brilliant place to have a fire.

357
00:20:44.240 --> 00:20:45.240
Yeah. A burning.

358
00:20:45.240 --> 00:20:48.039
Because otherwise, you put it on land.

359
00:20:48.039 --> 00:20:49.039
No.

360
27



00:20:49.039 --> 00:20:52.680
It removes it from personal contact.

361
00:20:52.680 --> 00:20:54.279
But on the other hand, you see it.

362
00:20:54.279 --> 00:20:54.779
Yeah.

363
00:20:54.779 --> 00:20:55.920
It's distant.

364
00:20:55.920 --> 00:20:57.519
Like history is kind of distant.

365
00:20:57.519 --> 00:20:59.359
And wow, what a great idea.

366
00:20:59.359 --> 00:21:03.960
And as the women were being led out to be burned at the stake,

367
00:21:03.960 --> 00:21:06.839
we were chanting the names of the women murdered

368
00:21:06.839 --> 00:21:07.839
in Montreal.

369
00:21:07.839 --> 00:21:12.039
And that included the audience members had those names.

370
00:21:12.039 --> 00:21:12.880
And-

371
00:21:12.880 --> 00:21:13.720
Were they chanting them too?

372
00:21:13.720 --> 00:21:14.539
Yes.

373
00:21:14.539 --> 00:21:15.839
Wow.

28



374
00:21:15.839 --> 00:21:16.920
That's potent theater.

375
00:21:16.920 --> 00:21:21.000
And then the barge out on the lake was all set up

376
00:21:21.000 --> 00:21:22.319
for the conflagration.

377
00:21:22.319 --> 00:21:23.160
You know, I've never seen that.

378
00:21:23.160 --> 00:21:24.839
This sounds spectacular.

379
00:21:24.839 --> 00:21:26.920
So potent. So well done. I've never seen that. This sounds spectacular, so potent, so well done.

380
00:21:26.920 --> 00:21:28.920
I've never seen a review.

381
00:21:28.920 --> 00:21:34.119
There's none in the archives at UVic.

382
00:21:34.119 --> 00:21:35.200
There was one review.

383
00:21:35.200 --> 00:21:37.400
I remember Deb Thomas wrote it.

384
00:21:37.400 --> 00:21:38.519
She was a librarian.

385
00:21:38.519 --> 00:21:43.799
And one of her critiques was, I mean, she wrote a good review.

386
00:21:43.799 --> 00:21:47.319
But one of the things she said and why I remember it was,

387
29



00:21:47.319 --> 00:21:49.680
they had white bread on the table and at the time

388
00:21:49.680 --> 00:21:51.559
there wouldn't have been white bread,

389
00:21:51.559 --> 00:21:53.200
it wouldn't have been brown bread.

390
00:21:53.200 --> 00:21:55.519
All the things to pick on, all the things to pick on.

391
00:21:55.519 --> 00:21:58.200
I mean the rest of you, that's of all the things to remember.

392
00:21:58.200 --> 00:22:03.200
So that's a poor review, that's funny.

393
00:22:03.200 --> 00:22:10.000
It was, so that that's somewhere that was probably in one of the small Nelson papers at the time.

394
00:22:10.000 --> 00:22:15.000
I guess I'll have to keep looking, but I have yet to see a review, a written review.

395
00:22:15.000 --> 00:22:18.000
It's surprising because it sounds so potent and powerful.

396
00:22:18.000 --> 00:22:22.000
But you know, at the time there was no social media.

397
00:22:22.000 --> 00:22:27.160
And the newspapers, maybe there was nothing in the Nelson

398
00:22:27.160 --> 00:22:28.319
Daily News at the time.

399
00:22:28.319 --> 00:22:28.920
I don't know.

400
00:22:28.920 --> 00:22:30.200
No, no, yeah.

30



401
00:22:30.200 --> 00:22:32.400
But there was no social media, but word of mouth.

402
00:22:32.400 --> 00:22:33.759
It was incredible.

403
00:22:33.759 --> 00:22:35.400
Yeah, yeah.

404
00:22:35.400 --> 00:22:39.039
And people seeing that tent at Lakeside Park

405
00:22:39.039 --> 00:22:40.480
are going to go, what's going on?

406
00:22:40.480 --> 00:22:44.000
Yeah, yeah, yeah.

407
00:22:44.000 --> 00:22:46.880
Wow.

408
00:22:46.880 --> 00:22:51.559
So I'm missing, as you do in research, I'm missing reviews.

409
00:22:51.559 --> 00:22:54.599
Have you ever come across any?

410
00:22:54.599 --> 00:22:56.960
I'd love to get a copy.

411
00:22:56.960 --> 00:23:01.599
I'm also missing of the show any photos.

412
00:23:01.599 --> 00:23:08.160
There's not a photo of the actual show, you know, like rehearsal even or, you

413
00:23:08.160 --> 00:23:12.960
know, there's a scene when, you know, there's a shot. So...

414
31



00:23:12.960 --> 00:23:18.279
They must exist somewhere because that poster that's downstairs has a shot of the young

415
00:23:18.279 --> 00:23:19.279
witch-in-training.

416
00:23:19.279 --> 00:23:22.519
Yeah, yeah, yeah, yeah, well...

417
00:23:22.519 --> 00:23:26.000
And so whether people have them in their private collections, I certainly don't.

418
00:23:26.000 --> 00:23:32.000
Yeah, yeah. Well, if you come across any, let me know. I'd be interested in knowing that.

419
00:23:32.000 --> 00:23:41.000
Judith has mentioned... By the way, I've listened to your wonderful five-hour last interview with...

420
00:23:41.000 --> 00:23:46.420
That's marvelous. What a rich thing that is. Of course, she's probably

421
00:23:46.420 --> 00:23:51.920
the key member of Theater Energy. You know, stayed with it the longest, was a founding

422
00:23:51.920 --> 00:23:58.019
member, did so much. She did act it, she directed, she managed, she publicized, she kept books,

423
00:23:58.019 --> 00:24:05.099
kept all the accounts. And that's why we have all those stuff I picked up.

424
00:24:09.720 --> 00:24:11.980
Yeah, she mentions that Melalifica was a beautiful production,

425
00:24:11.980 --> 00:24:13.720
but it was a hard play to work on.

426
00:24:14.619 --> 00:24:15.700
I can see why.

427
00:24:15.700 --> 00:24:19.460
Her scene with David never did work to its full potential.

32



428
00:24:19.460 --> 00:24:21.799
The play might have used more workshopping.

429
00:24:23.279 --> 00:24:25.599
Was that a common feeling?

430
00:24:25.599 --> 00:24:28.200
I think there was one scene.

431
00:24:28.200 --> 00:24:30.680
It was a hard play because it was very.

432
00:24:30.680 --> 00:24:31.599
Well, the content.

433
00:24:31.599 --> 00:24:33.799
The content was really, really hard.

434
00:24:33.799 --> 00:24:37.859
I mean, I think there was a dude that had a conflict with one

435
00:24:37.859 --> 00:24:38.720
of the actors.

436
00:24:38.720 --> 00:24:40.119
I gathered that.

437
00:24:40.119 --> 00:24:41.640
I gathered there was something.

438
00:24:41.640 --> 00:24:45.240
And also, there was one scene that we

439
00:24:45.240 --> 00:24:46.319
workshopped over and over.

440
00:24:46.319 --> 00:24:48.079
And they never felt like they got it right.

441
33



00:24:48.079 --> 00:24:51.160
I remember it was a confrontation between Judith

442
00:24:51.160 --> 00:24:52.720
and the Witch Finder.

443
00:24:52.720 --> 00:24:54.519
I guess that was David.

444
00:24:54.519 --> 00:24:57.140
Where they ended up, instead of standing and yelling

445
00:24:57.140 --> 00:24:59.359
at each other or something, they ended up sitting.

446
00:24:59.359 --> 00:25:00.220
It was intense.

447
00:25:00.220 --> 00:25:02.680
But I think they could never figure whether they should

448
00:25:02.680 --> 00:25:03.279
stand.

449
00:25:03.279 --> 00:25:04.680
I mean, there was stuff like that.

450
00:25:04.680 --> 00:25:05.359
And of course course it was

451
00:25:06.359 --> 00:25:09.220
It was a done in a time frame of this big

452
00:25:12.079 --> 00:25:14.079
And so I you know, yeah

453
00:25:20.400 --> 00:25:22.759
Louise worthy was in the play. That's who

454
00:25:23.400 --> 00:25:25.000
Denise Louise worthy Louise for that hurt that name. Yeah. Yeah, she died recently Louise Worthing

34



was in the play, that's who. Denise? Louise Worthing.

455
00:25:25.000 --> 00:25:27.000
Louise Worthing, I've heard that name.

456
00:25:27.000 --> 00:25:29.000
Yeah, she died recently.

457
00:25:29.000 --> 00:25:34.000
She went by Louise Tanata, something, Ruby.

458
00:25:34.000 --> 00:25:36.000
She was a singer.

459
00:25:36.000 --> 00:25:40.000
Yeah, okay, that's good to know.

460
00:25:49.839 --> 00:25:51.839
Well, anything else you'd like to say about Maleficar that I should maybe know about before I move on?

461
00:25:51.839 --> 00:26:00.579
Well, it was just, it was one of those times of your lives when you got the opportunity

462
00:26:00.579 --> 00:26:04.859
to say what you wanted to say, to make theatre of it.

463
00:26:04.859 --> 00:26:06.200
It was powerful. It

464
00:26:06.200 --> 00:26:19.279
was so of the time. It was just so powerful that way as a piece of political theater.

465
00:26:19.279 --> 00:26:26.000
But it wasn't people just talking politics. It was spectacular theater.

466
00:26:26.000 --> 00:26:27.680
You know what surprises me, Rita,

467
00:26:27.680 --> 00:26:31.319
is of all the plays that Hidernichi did,

35



468
00:26:31.319 --> 00:26:35.599
that seems like a really prime one for publication.

469
00:26:35.599 --> 00:26:39.599
If I was going to want to see one published,

470
00:26:39.599 --> 00:26:41.960
that would be a, it seems to me, that would be a,

471
00:26:41.960 --> 00:26:43.240
you know, it's so resonant.

472
00:26:43.240 --> 00:26:47.920
And I don't know whether we, Nick and Norm and I,

473
00:26:47.960 --> 00:26:51.119
ever thought we would rewrite certain scenes and do that.

474
00:26:51.119 --> 00:26:53.259
But you know, it just kind of evaporates

475
00:26:53.259 --> 00:26:54.980
because you've got your wWhole life and work

476
00:26:54.980 --> 00:26:57.319
and everything else going on through.

477
00:26:57.319 --> 00:26:59.900
Or that you're making up.

478
00:26:59.900 --> 00:27:04.160
And then that time is over and you're out of weight.

479
00:27:04.160 --> 00:27:05.119
That's right, yeah.

480
00:27:14.119 --> 00:27:19.160
That is an issue with publishing plays, especially ones

481
00:27:19.160 --> 00:27:21.160

36



that have been done some time ago.

482
00:27:21.160 --> 00:27:28.759
Do you insist on rewrites or encourage rewrites or keep people, will they

483
00:27:28.759 --> 00:27:36.579
want to do a rewrite? Do they care? Can they do it? Or has it become the past for them,

484
00:27:36.579 --> 00:27:42.359
you know? And so do you then publish it as it is, just in the archives, say, or do you

485
00:27:42.359 --> 00:27:45.160
encourage rewrites and...

486
00:27:50.400 --> 00:27:53.680
Well, the other thing is that you, we work together intensely, then you go your separate ways. If
you were a single playwright, you can go back in and dither

487
00:27:53.680 --> 00:27:54.160
with stuff.

488
00:27:54.160 --> 00:27:54.599
That's right.

489
00:27:56.039 --> 00:27:56.880
But you don't...

490
00:27:57.160 --> 00:28:02.559
There is value in publishing the original, what was done then, because really the

491
00:28:02.599 --> 00:28:06.680
study, the concern, the thought, the thinking is this

492
00:28:06.680 --> 00:28:08.119
is how they did it then.

493
00:28:08.119 --> 00:28:13.119
That's what people saw word for word, you know, as opposed to, oh, we fixed it up or

494
00:28:13.119 --> 00:28:15.119
something, you know, that's a different thing.

37



495
00:28:15.119 --> 00:28:16.119
So, yeah.

496
00:28:16.119 --> 00:28:25.799
I remember what, I don't know if Judith mentioned this when she was talking to you but at one
point Kate thought about having the two sisters

497
00:28:25.799 --> 00:28:35.839
where the witches be naked and I certainly would never have if I had any

498
00:28:35.839 --> 00:28:41.180
say about it would go wrong. That was Kate's idea. Yeah but I think she talked to the

499
00:28:41.180 --> 00:28:45.880
actors about it and then she decided no but but it was kind of like, whoa,

500
00:28:45.880 --> 00:28:46.880
that was a bit...

501
00:28:46.880 --> 00:28:50.160
Yeah, that would have pushed the envelope a little farther.

502
00:28:50.160 --> 00:28:52.960
Yeah, and that would have been what the play was about instead of...

503
00:28:52.960 --> 00:28:58.759
Yeah, it might have become the wrong kind of controversial, you know, what are they

504
00:28:58.759 --> 00:28:59.759
doing?

505
00:28:59.759 --> 00:29:02.599
I'm offended, you know, I get all that coming.

506
00:29:02.599 --> 00:29:10.759
I've seen that okay certainly you know

507
00:29:10.759 --> 00:29:15.119
in the future if I have any more concerns when I write about this I'll probably

38



508
00:29:15.119 --> 00:29:20.599
show you and do a telephone interview and but I do have a couple of finishing

509
00:29:20.599 --> 00:29:25.000
off questions about the and this is a big mystery to me, and maybe you know, maybe you don't,

510
00:29:25.000 --> 00:29:27.920
but you've been around the wWhole time, so maybe you do.

511
00:29:29.680 --> 00:29:32.319
The closing of theater energy.

512
00:29:32.319 --> 00:29:36.920
Like I know in the early 90s, 92, 93, not even sure,

513
00:29:36.920 --> 00:29:40.440
but at some point the door closed,

514
00:29:40.440 --> 00:29:41.859
so they shut it down.

515
00:29:41.859 --> 00:29:46.359
And quite frankly, the archives are really silent on that.

516
00:29:46.359 --> 00:29:49.579
There's mention in the archives, some files,

517
00:29:49.579 --> 00:29:53.539
there's minutes of board meetings of Theater Energy.

518
00:29:53.539 --> 00:29:59.660
And one or two of those toward the end, 92, 93,

519
00:29:59.660 --> 00:30:01.880
you did the agenda or the minutes.

520
00:30:01.880 --> 00:30:06.079
There'll be discussion on the future of theatre energy. And then

521
00:30:06.079 --> 00:30:09.200

39



there's people saying, well, if we do shut down, here's what we should do. If we shut

522
00:30:09.200 --> 00:30:14.160
down, we should do that. You know, there's all that shut down talk now coming in. And

523
00:30:14.160 --> 00:30:20.599
I've searched and searched to see if there are minutes of the final meeting or did they

524
00:30:20.599 --> 00:30:28.259
make any decisions, you know, what to do with things, or how to shut down, or who will shut

525
00:30:28.259 --> 00:30:30.220
down, what will they do?

526
00:30:30.220 --> 00:30:31.220
Nothing like that.

527
00:30:31.220 --> 00:30:32.220
Do you know anything about that?

528
00:30:32.220 --> 00:30:33.220
No, I don't really.

529
00:30:33.220 --> 00:30:38.279
I just know that there was a wWhole core of theater energy, all these people we talk about,

530
00:30:38.279 --> 00:30:43.000
but then it morphed into something else for a while and different people coming and going.

531
00:30:43.000 --> 00:30:46.240
And I don't know if Judith hung in through all of that as other people went on.

532
00:30:46.240 --> 00:30:51.799
She kind of did. She kept coming back. I found her at meetings saying, look, I'm willing

533
00:30:51.799 --> 00:30:57.000
to carry it on. A lot of people saying, well, if we shut down, well, you know, I think we

534
00:30:57.000 --> 00:31:00.240
should carry on and I'll do it. So that's Judith for you.

40



535
00:31:00.240 --> 00:31:05.759
I think that it just changed and morphed and sometimes with these things

536
00:31:06.319 --> 00:31:09.519
The last meeting is never declared as the last meeting

537
00:31:09.519 --> 00:31:13.359
It's just nobody gets it together to call another one or has the energy to do something.

538
00:31:13.359 --> 00:31:17.519
So you living in the valley and knowing a lot of people what's going on. You weren't aware of oh

539
00:31:18.200 --> 00:31:22.200
They eventually just quit last week. I heard they just quit. No, you never heard that.

540
00:31:22.200 --> 00:31:25.480
I think it would have just been the plays changed,

541
00:31:25.480 --> 00:31:29.440
the personnel changed, they might have been doing

542
00:31:29.440 --> 00:31:31.680
less original stuff.

543
00:31:31.680 --> 00:31:33.799
Which was their strength, really.

544
00:31:33.799 --> 00:31:35.000
Did they do Night Mother?

545
00:31:35.000 --> 00:31:37.440
I think that was Theater Energy did Night Mother.

546
00:31:37.440 --> 00:31:38.920
Did they?

547
00:31:38.920 --> 00:31:40.200
It's not an original play.

548
00:31:40.200 --> 00:31:41.680

41



No, no.

549
00:31:41.680 --> 00:31:43.559
But I think that's what happened.

550
00:31:43.559 --> 00:31:49.039
They were probably trying to do stuff that maybe brought in more of an audience because

551
00:31:49.039 --> 00:31:50.039
it was a no.

552
00:31:50.039 --> 00:31:52.720
I don't know, but I know that happens with organizations too.

553
00:31:52.720 --> 00:31:56.960
It's like when you're meeting at people's places and you're all bedraggled and at some

554
00:31:56.960 --> 00:32:06.440
point it's like it's not like they had a building and sets and everything to disperse. They just had
people.

555
00:32:06.440 --> 00:32:10.319
And at some point, it just maybe just fizzled out.

556
00:32:10.319 --> 00:32:12.839
They never really had a home of their own.

557
00:32:12.839 --> 00:32:17.359
Like, they had the art folks home in South Spokane.

558
00:32:17.359 --> 00:32:19.240
That became their home for a while, an office

559
00:32:19.240 --> 00:32:20.480
and a kind of rehearsal space.

560
00:32:23.160 --> 00:32:28.319
But then they tried to move to Nelson and become... there was talk of...

561
00:32:28.319 --> 00:32:34.680
I know Richard Robear made a presentation to the civic leaders in Nelson at one point,

42



562
00:32:34.680 --> 00:32:41.880
and obviously the Capitol Theatre people, about becoming a resident company of Capitol

563
00:32:41.880 --> 00:32:47.920
Theatre. But that never worked out. So I'm going to talk to Richard soon, and Meredith and people.

564
00:32:47.920 --> 00:32:49.799
I'm going to ask them, why didn't that work?

565
00:32:49.799 --> 00:32:51.559
And why didn't they become?

566
00:32:51.559 --> 00:32:53.400
Because a big pitch was made.

567
00:32:53.400 --> 00:32:54.640
Why didn't that work?

568
00:32:54.640 --> 00:32:59.680
That seemed like a good idea, maybe.

569
00:32:59.680 --> 00:33:01.359
But you weren't part of that.

570
00:33:01.359 --> 00:33:02.759
No, I wasn't.

571
00:33:02.759 --> 00:33:05.640
And there was just so much stuff happening

572
00:33:05.640 --> 00:33:07.880
that people were probably in other plays

573
00:33:07.880 --> 00:33:10.400
and other musical groups and other.

574
00:33:10.400 --> 00:33:11.720
True.

575
43



00:33:11.720 --> 00:33:12.519
They moved on.

576
00:33:12.519 --> 00:33:13.880
Yeah.

577
00:33:13.880 --> 00:33:17.599
And relationships and.

578
00:33:17.599 --> 00:33:20.519
Well, I've studied a lot of BC theater history,

579
00:33:20.519 --> 00:33:22.880
which is my field.

580
00:33:22.880 --> 00:33:24.519
This is the story of so many companies.

581
00:33:24.519 --> 00:33:26.079
Even big ones like Vancouver

582
00:33:26.079 --> 00:33:31.519
Playhouse, you know, Glynne Slayshore, and when she was AD of the Playhouse in Vancouver,
you know,

583
00:33:31.519 --> 00:33:39.680
the big company for so many so long shut it down, quit, problems galore and well fashion

584
00:33:39.680 --> 00:33:46.079
theater Victoria, same thing. Especially if it can be a choir it can be a music group

585
00:33:46.079 --> 00:33:51.400
it can be at one point they had all this group energy and all these people who

586
00:33:51.400 --> 00:33:55.579
are like this and then one person would go and one relationship would break up

587
00:33:55.579 --> 00:34:00.640
and whatnot and then there's this person and just all the work gets burned out

588
00:34:00.640 --> 00:34:05.279

44



well or they just it's shifting there's no the core isn't the

589
00:34:05.279 --> 00:34:11.500
core anymore and and then it just is rudderless yeah yeah it's time to pack

590
00:34:11.500 --> 00:34:18.199
it up. Well burnout certainly a factor. I see it in my study of the company and

591
00:34:18.199 --> 00:34:23.079
they were doing hard stuff. Yeah yeah they were yeah and the collective idea

592
00:34:23.079 --> 00:34:27.000
we all share we all make decisions we all do kind of everything.

593
00:34:27.000 --> 00:34:30.000
Sometimes things weren't done properly.

594
00:34:30.000 --> 00:34:35.000
We were doing publicity, I thought you were. No, it's not done well.

595
00:34:35.000 --> 00:34:42.000
Ron did a lot of photography for publicity, Ron and I think Jim, his brother Jim, has some credits on
some of the...

596
00:34:42.000 --> 00:34:45.119
Publicity, yeah. And the photos, yeah.

597
00:34:45.119 --> 00:34:45.619
Yeah.

598
00:34:45.619 --> 00:34:48.920
There's a lot of photos in the archives, a lot of photos

599
00:34:48.920 --> 00:34:54.000
of the, well, not all the shows necessarily, but rehearsals

600
00:34:54.000 --> 00:34:56.920
or even the summer workshops that they had.

601
00:34:56.920 --> 00:34:57.440
Sure.

45



602
00:34:57.440 --> 00:34:58.320
Music, they did.

603
00:34:58.320 --> 00:35:02.800
The two summers of the Theater Energy workshops.

604
00:35:02.800 --> 00:35:04.559
Kind of got them going, I think.

605
00:35:04.559 --> 00:35:07.019
Yeah. You know what? computer energy workshops. Kind of got them going, I think.

606
00:35:09.039 --> 00:35:10.719
You know what, of course in retrospect, it would have been fun to get together

607
00:35:10.719 --> 00:35:13.559
with Norma Kilpatrick and Nick and me together

608
00:35:13.559 --> 00:35:16.559
because we would stimulate each other's

609
00:35:16.559 --> 00:35:17.840
memories of that time.

610
00:35:17.840 --> 00:35:18.679
I've talked to Norma.

611
00:35:18.679 --> 00:35:19.519
Yeah, uh-huh.

612
00:35:19.519 --> 00:35:21.920
She lives in Winlaw.

613
00:35:21.920 --> 00:35:24.579
Yeah, and not unlike you,

614
00:35:24.579 --> 00:35:28.119
a home kind of off the beaten path near Winlaw. Not unlike you, a home kind of off the beaten
path.

46



615
00:35:28.119 --> 00:35:29.119
Near Winlaw.

616
00:35:29.119 --> 00:35:30.119
Our road.

617
00:35:30.119 --> 00:35:36.719
Yeah, I stayed at the Caribou Caverns when I came up in September to see all the other

618
00:35:36.719 --> 00:35:41.719
people and Kathy stayed there, Kathy Marion stayed there.

619
00:35:41.719 --> 00:35:45.980
A bunch of us. Cool're a cool place to stay.

620
00:35:45.980 --> 00:35:46.820
Yeah.

621
00:35:46.820 --> 00:35:48.000
Yeah, caribou cabins.

622
00:35:48.000 --> 00:35:51.340
K-A-R-I-B-O-O, I think.

623
00:35:51.340 --> 00:35:52.960
Yeah, yeah.

624
00:35:52.960 --> 00:35:54.340
Well, I think that might be it.

625
00:35:54.340 --> 00:35:55.639
Yeah, I'm sorry I couldn't hear

626
00:35:55.639 --> 00:35:57.199
no more specific memories.

627
00:35:57.199 --> 00:35:58.840
I do have, I don't know if I can.

628
00:36:11.119 --> 00:36:16.059

47



Oh God, at the same time we were fighting the abortion battles at the local hospital. I was just
going through here going like, oh my god, the amount of stuff.

629
00:36:16.059 --> 00:36:20.719
The first detox annual, there was detox stuff happening.

630
00:36:20.719 --> 00:36:32.000
There was, I don't know, just Tech Week, Malefica, Malefica Opens, Final Night, and just all
through this, you know,

631
00:36:32.000 --> 00:36:46.840
and musicians coming through, and I think we were starting to campaign for Corky's election, and Detuff
occupiers reunion Monday the 30th of you know in all these things were all

632
00:36:46.840 --> 00:36:54.159
I know at the same time Caroline's book launch yeah oh the Louise worthy she

633
00:36:54.159 --> 00:37:06.000
sang with Louise Rose a lot. Stephen Fearing was here. Oh Stephen Fearing yeah he was actually a student here for a
while. Yeah, he just, he was. He just played up at Caslow.

634
00:37:06.000 --> 00:37:08.000
Look how well he's done.

635
00:37:08.000 --> 00:37:35.039
Yeah. I get the impression that theater energy people generally were, as you've been alluding to

636
00:37:35.039 --> 00:37:40.880
just now, pretty involved with community causes in the Slocan.

637
00:37:40.880 --> 00:37:45.360
Yeah, well, there would always be benefits for somebody being burned out

638
00:37:45.360 --> 00:37:51.079
burned out you know like all that kind of stuff and you know Judith was I don't

639
00:37:51.079 --> 00:37:57.739
know if in those years but and real involved in all the forestry issues and

640
00:37:57.739 --> 00:38:08.000
well as you saw in the interview with her the oh gosh, the Duke of Boer, the Duke of Oerishes of
Land.

48



641
00:38:08.000 --> 00:38:08.880
Yes.

642
00:38:08.880 --> 00:38:12.159
And she was mediating, helping mediate.

643
00:38:12.159 --> 00:38:15.039
I don't know if she was still doing theater energy at that same time.

644
00:38:15.039 --> 00:38:16.400
Maybe not. It might have been after.

645
00:38:16.400 --> 00:38:16.719
Yeah.

646
00:38:16.719 --> 00:38:20.960
Yeah, I think it might have been. Yeah. Because you interviewed her quite a while after theater

647
00:38:20.960 --> 00:38:21.280
energy.

648
00:38:21.280 --> 00:38:22.000
Yes. Oh yeah.

649
00:38:22.000 --> 00:38:25.800
Yeah. Yeah. But I get the impression Theater Energy people,

650
00:38:25.800 --> 00:38:29.000
like Judith, like yourself, were heavily involved

651
00:38:29.000 --> 00:38:33.519
with causes, like for the DuMont graveyard.

652
00:38:33.519 --> 00:38:35.079
Yeah.

653
00:38:35.079 --> 00:38:36.639
That's what Dan's involved in.

654
49



00:38:36.639 --> 00:38:38.880
Yeah, my partner Dan's on the board of that.

655
00:38:38.880 --> 00:38:39.719
Yeah.

656
00:38:39.719 --> 00:38:42.280
The child care, schools.

657
00:38:42.280 --> 00:38:43.239
WWhole school.

658
00:38:43.239 --> 00:38:47.079
Getting food in, food co-ops, all kinds of things.

659
00:38:47.079 --> 00:38:52.039
And that was theater energy people were, I assume, were doing a lot of that.

660
00:38:52.039 --> 00:38:55.320
Just about everybody was doing all of that.

661
00:38:55.320 --> 00:39:03.239
And that's why some of their stories, like the one I remember so well was that one about

662
00:39:03.239 --> 00:39:06.119
two people have arrangements to go to town or something.

663
00:39:06.119 --> 00:39:08.760
And then it's all in movement.

664
00:39:08.760 --> 00:39:13.760
And then somebody's kid got sick and then the whole thing had to...

665
00:39:13.760 --> 00:39:17.360
Pick up this, help me with this, and see so and so.

666
00:39:17.360 --> 00:39:22.039
And then one thing goes haywire and the whole thing has to unravel and be rebuilt.

667
00:39:22.039 --> 00:39:23.039
And it was so...

50



668
00:39:23.039 --> 00:39:25.219
Done as a kind of a dance yes mine

669
00:39:25.219 --> 00:39:32.380
yeah what fun yeah yeah well I think that's it okay Rita and I thank you very

670
00:39:32.380 --> 00:39:38.679
much I'm gonna yes I realize the gaps in my memory okay that's that's standard

671
00:39:38.679 --> 00:39:44.320
come on well you silly machine

51



file:///Q/Digitization/vol04/Vault_Transcriptions/Theatre%20Energy/Rita%20Moir_transcript.vtt