Monthly Archives: July 2017

Colours in the Dark premiere July 25, 1967

Colours in the Dark premiere July 25, 1967

July 25, 1967 — Fifty years ago today, James Reaney’s play Colours in the Dark had its first performance at the Avon Theatre in Stratford, Ontario, part of the Stratford Festival‘s 15th season. Described in the press as a “play box of colours and fantasies”, Colours in the Dark won favourable reviews and enjoyed a standing ovation on its opening night.

Directed by John Hirsch, the actors were Sandy Webster, Barbara Bryne, Douglas Rain, Martha Henry, Heath Lamberts, and Mary Hitch along with 12 Stratford children and four singers. Eoin Sprott designed the projected images used to create the set, and Alan Laing wrote and performed the music.

Douglas Rain as the Father, Martha Henry as the Mother and Heath Lamberts as the Son in the 1967 production of Colours in the Dark. Photography by Peter Smith (Courtesy Stratford Festival Archives. Reproduced with permission.)

Barbara Bryne, Douglas Rain and Sandy Webster in Colours in the Dark, 1967
Photography by Peter Smith & Company
(Courtesy Stratford Festival Archives. Reproduced with permission.)

Carol Johnson of the Stratford Beacon Herald interviewed Elizabeth Cooke, James Reaney’s mother, and Wilma McCaig, his sister, about the play and about the notion that the play is like a “play box” from his past and the past of the Stratford District:

“There’s a big chest upstairs that comes from Ireland. It has his first manuscripts and his first puppets in it. I don’t know if that’s what he calls his play box.

He didn’t have measles as a child. The experience in the play was like my experience with measles, except I didn’t see colours in the dark. I kept books under my pillow… I read when I wasn’t supposed to.

He used to listen to the radio all the time. Little Orphan Annie, that’s in the play, was one of his favourite programs… the Singing Lady, that was another one. And one early space program that used to make the windows shake.

[…] Flying kites, parades, puppets, glass Easter eggs, drawings, bicycles, Sunday School pictures — all of the things his mother and sister spoke of in James Reaney’s past, they placed in his work today, most in Colours in the Dark.

Jamie wasn’t a religious boy. He’d sit in church in one of the back pews. Someone told me once, there was Jamie reading while the minister was preaching.

He’s always painted. You’d call him for dinner and he’d be upstairs painting water colour portraits on the whitewash.

He’s made puppets since high school.  In Red Riding Hood he was the wolf, a plastic bag, who eats the grandmother, who’s a teapot.

James Reaney writes about the things he knows from his childhood, the way he knows them as a man.”

[Source: Excerpted from Carol Johnson’s article “James Reaney’s ‘play-box’ mother talks about his childhood”, Stratford Beacon Herald, July 28, 1967, page 7.]

 

Note from Susan Reaney: Elizabeth Cooke (née Crerar) did indeed keep books under her pillow; see “Her reviews were pithy” by James Stewart Reaney in the London Free Press.

Allan Stratton tells us that James Reaney’s marionette plays Apple Butter and an adaptation of Red Riding Hood were performed July 3-15, 1967 at the Stratford Arena before Colours in the Dark opened, so this might be where Elizabeth Cooke had the chance to see them.

The Alphabet Players with the marionettes from Apple Butter, Stratford, Ontario, July 1967. James Reaney (centre, seated) is holding some of the Red Riding Hood marionettes. Allan Stratton (far right) is holding Apple Butter, and James Stewart Reaney (second in on the left) is holding Solomon Spoilrod.

 

For more about Colours in the Dark, see “The Music Lesson from Colours in the Dark”, “Colours in the Dark and Mr. Winemeyer”, and the March 2017 production by the King’s Theatrical Society.

For more about James Reaney’s childhood influences, see “James Reaney: Reflections on Food, Shelter, and ‘When the Great Were Small'”.

Grateful thanks to the Stratford Festival Archives for permission to reproduce the photos from the 1967 production of Colours in the Dark, and also to the Canadian Theatre Collection at the University of Guelph Archives for reviews and articles about the play.

Colours in the Dark by James Reaney is available from Talonbooks.

 

 

 

The Music Lesson from Colours in the Dark

March 2017 in Halifax: King’s Theatrical Society’s production of James Reaney’s Colours in the Dark. (Photo by Erica Guy)

The Music Lesson scene in James Reaney’s 1967 play Colours in the Dark (Act II Scene 5) borrows from an earlier poetic cycle about Stratford, Ontario: Twelve Letters to a Small Town (1962).

Pages 6 and 7 from Twelve Letters To A Small Town (1962). Drawings by James Reaney.

CBC Radio commissioned Twelve Letters to a Small Town and John Beckwith composed music to accompany the poems. In the Eighth Letter (subtitled “The Music Lesson”), James Reaney pays tribute to his Stratford piano teacher Cora B. Ahrens.

The Eighth Letter “…  depicts a piano lesson in which the student, after playing a few exercises and a set piece called ‘The Storm,’ is asked to display his progress on another piece called ‘A Year in the Town,’ by playing each of the four sections (representing the four seasons) first one hand at a time and then with both hands together. Both ‘The Storm’ and ‘A Year in the Town have appropriate spoken texts to which the music corresponds.” [Source: John Beckwith on “James Reaney and Music” November 5, 2016]

From Colours in the Dark (II v) The Music Lesson: PUPIL: Miss Miller. Tell me the truth. Are you really Mr. Winemeyer in disguise? Are men and women the same? (Photo by Erica Guy, King’s Theatrical Society)

 

5. THE MUSIC LESSON

(The GRANDMOTHER is the music teacher; the FATHER is her pupil.)

TEACHER: That will do for your scales. Now play me your piece. Play me “The Storm.” What shall I set the metronome at?

PUPIL: Set it at summer and pink and white and yellow bricks sunlight with blue sky and white feather dumpling clouds.

The cast enters and assists orally.

THE STORM

A cloud and a cloud and a cloud
Came into the blue afternoon room
A cloud and a cloud and a cloud
And a cloud and a cloud
a cloud
Mac Leod
A Cloud
And a cloud and a cloud
Down down down came the cloudy
With a windowpane shudder
And mirrors for your feet
People running into stores
Darkness in the library
Umbrellas blossom
Church is nearer through the rain.
A cloud and a cloud and a cloudy
Came out of the yellow garage
Joseph MacLeod in a many-coloured vest
Danced to the music dying in the west.

This whole piece should have the feeling of yellow and “Chansons sans Paroles” by Mendelssohn.

TEACHER: Why are you looking so sad?
PUPIL: I’ve lost something. I’ve lost a piece of the star Mr. Winemeyer gave me. I was trying to kick it all the way into town and it disappeared in the dirt.
TEACHER: Here – as a reward for playing “The Storm” so well.
She hands him the star.
PUPIL: But Miss Miller. How did you get hold of this? It’s my piece of the star… that I lost while kicking it into town.
She sits down at the piano and begins to play.
TEACHER: Now here’s the next piece of music I’d like you to learn.
She plays him the same piece of music the Hermit played, “On Wings of Song.”
PUPIL: Miss Miller. Tell me the truth. Are you really Mr. Winemeyer in disguise? Are men and women the same?
She smiles and continues playing. The light fades. The Wind and the rain doll pass with their branch shadows. The GRANDMOTHER exits. The GRANDFATHER, still playing the Hermit, crawls onstage. The BOYS run over to him.

((( ♦ ))) For more about “The Music Lesson” in the “Eighth Letter” section of Twelve Letters to a Small Town, see composer John Beckwith’s talk on “James Reaney and Music” at Words Fest 2016. 

((( ))) For more about the play, see Colours in the Dark and Mr. Winemeyer” and the March 2017 production by Edie Reaney Chunn and the King’s Theatrical Society.

John Beckwith at WordsFest in London, Ontario, November 5, 2016

© 2017 James Reaney