Parishioners - Gail McCance

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A creative life in Theatre and Opera

Designer recalls opera's early days.
McCance will enjoy VOA's 40th birthday.

 

 
 

NEWS photo Terry Peters
GAIL McCance designed
the 1963 production of Norma
(in background) in which
Joan Sutherland made her Vancouver debut.

 

By Layne Christensen
News Reporter

lchristensen@nsnews.com

Web Published by North Shore News:
Mar. 6, 2000
Reproduced with permission.

 
 

 

At 75, Gail McCance can still remember the first set he helped build.

A set designer on Broadway, a production designer for the movies, a veteran of 90 Theatre Under The Stars (TUTS) productions and an original founder of the Vancouver Opera Association, the Edgemont Village resident has a lifetime of memories behind him.

He was 12 when he assisted his father, Jack McCance, in building a set for the 1936 production of A Midsummer Night's Dream on the cricket pitch at Stanley Park's Brockton Point. The production was a Silver Jubilee celebration.

To create a forest from a playing field, McCance and his father chopped 50- and 60-foot cedar trees from a vacant lot in North Van and planted them in the turf. "We made huge screens covered with chicken wire and stuffed them with cedar bows to create the look of formal English hedges."

Father and son trucked the timber across the old Second Narrows crossing. To transport them across a hitch in the road, the logs had to be lowered over the side of the bridge and carried across aways. "Now you'd get six months for that," recalls McCance with a chuckle. Needless to say, their reforestation venture would not be repeated today.

McCance has many such stories of his years behind the scenes, from his early days at New York's Metropolitan Opera where he toiled in his 20s, to his years with TUTS and the Vancouver Festival and, later, with the Vancouver Opera Association.

"I founded the VOA for the simple reason that friends I knew were going to start an opera. They were really nice but they had no business acumen and they didn't sing very well," he says simply. But his contributions to the city's performing arts community can't be underestimated.

In '97, the trustees of the B.C. Entertainment Hall of Fame recognized those accomplishments with a star for McCance on its Granville Street Starwalk. And on Saturday, McCance plans to be in the audience when the Vancouver Opera celebrates its 40th anniversary with a gala concert at the Orpheum Theatre. The program will feature the Vancouver Opera Orchestra, the Vancouver Opera Chorus and a lineup of soloists including internationally acclaimed mezzo-soprano Judith Forst, whose first mainstage appearance at Vancouver Opera was in '68 as the Young Shepherd in Tosca.

On the podium will be Timothy Vernon, artistic director of Pacific Opera Victoria, who first conducted for Vancouver Opera in '79 (La Traviata). Hosting the evening will be well-known author, CBC Radio host Bill Richardson.

During Saturday's anniversary concert, which starts at 8 p.m., Forst will sing "Pensa alla patria" from Rossini's The Italian Girls in Algiers, the Act IV finale from Bizet's Carmen and, with the opera chorus, "Rataplan!" from Verdi's La Forza del Destino.

Another VO alumni, Texas-based soprano Mary Jane Johnson will return to sing the aria "Ebben? Ne andro lontanan" from Catalani's La Wally and "Hojotoho!" from Wagner's Die Walküre. The opera orchestra will play the overture to Die Fledermaus and the prelude to Act III of Lohengrin.

 

 

  To Each of Us

The wonder of life is the immeasurable beauty in the small area of the universe with which we are acquainted. Even more amazing is that our creator has made each of us capable of experiencing an individual emotional response to what goes on about us. I believe that the nebulous gift called talent is the degree of our emotional response. The stronger the response, the more likely we are to create something tangible, be it poetry, prose, music, sculpture or painting.

I may never be our privilege to personally realize the impact of that revelation on others. But by whatever means – our expression must be completely honest. It will be an exposure of our innermost selves. Our work will be us.

When I was a teenager, music and painting vied for my attention, but they were interchangeable. At age twenty I built and painted some scenery for the original Theatre under the Stars (1944). Adrian Awan and Associates asked me to be Production Designer and create Gershwin’s revival of the Song of the Flame. That was fifty-two years ago. It was inevitable that the human voice, music and painting would all come together in opera. In over two hundred productions I would turn sounds into accompanying sights, with musicals and opera. What greater joy than the human voice. When the productions were playing, these thousands of performances made me very aware that an enabling factor was provided. What a wonderful series of happenings to share with people from many countries.

My ongoing dedication to painting contains the sounds and sights of my response to our small space in the universe. The music always comes along, each painting brings its own.

Gail McCance,
March 15, 1998