Transcript: Cynthia Dale | Oct 05, 1997

(Rhythmic string and wind music plays)

In animation, a word in pink slides by against a gray background as hands paint strokes using paintbrushes, play a piano, and touch as in a ballet performance.

The title of the show reads “Dialogue.”

The title of the episode pops up against an image of Richard Ouzounian and a guest sitting on a bench in a park: “Cynthia Dale. Actor.”

Richard and Cynthia chat as the wind makes their clothes flutter. An assistant helps with Cynthia’s microphone. The day is sunny.

Then, Richard appears facing the screen. He's in his late forties, clean-shaven, with short side-parted blond hair. He's wearing rounded glasses, a blue suit, a checkered white shirt, and a striped red tie.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
YOU'RE ABOUT TO MEET A
STUDY IN CONTRADICTIONS.
SHE MADE HER FAME AND FORTUNE
AS A DUPLICITOUS MINX, BUT
EVERYBODY WHO KNOWS HER, KNOWS
SHE'S ONE OF THE STRAIGHTEST
SHOOTERS IN THE BUSINESS.
SHE ALSO BECAME
FAMOUS ON TELEVISION.
BUT NOW SHE'S RETURNED TO
HER TRUE LOVE, THE THEATRE,
AT THE STRATFORD FESTIVAL.
THIS
DIALOGUE
IS
WITH CYNTHIA DALE.

Cynthia is in her thirties, with long wavy chestnut hair and bangs. She’s wearing a black blouse and small silver hoop earrings.

Richard continues SO, CYNTHIA, AMONG THE OTHER
CONTRADICTIONS WE'LL GET TO IN
A COUPLE OF MINUTES, THE MAJOR
THING IS I FOUND IT VERY FUNNY
TO SIT AND WATCH
CAMELOT
AND
HAVE PEOPLE ALL AROUND ME GOING,
'OH, SHE CAN SING', BECAUSE I'VE
KNOWN YOU AS A MUSICAL COMEDY
PERFORMER, AND YOU STARTED
AS ONE, WHEN YOU WERE WHAT,
FIVE, OR SOMETHING?

A caption appears on screen. It reads "Cynthia Dale. Actor."

Cynthia says YEAH.
THAT'S WHAT I DID A LOT BEFORE
TELEVISION CAME ALONG, FOR ME.
WITH
YOU
I DID
THIS ON STAGE.

Richard says AGES AGO, RIGHT.

Cynthia says AND LOTS OF OTHER THEATRES.
HERE AT STRATFORD, TOO.
NOW, MIND YOU, I WAS IN
THE CHORUS HERE THEN.
BUT I HAD WORKED A LOT
IN MUSICAL THEATRE.
AND EVEN WHEN I WAS
DOING
STREET LEGAL,
I SANG ON THE SHOW TWICE.
I SANG ON DIFFERENT
VARIETY SPECIALS.
DID THE BIG CANADA DAY
SPECIAL, BUT PEOPLE JUST...
IT STILL DIDN'T
LAND WITH THEM.

Richard says WHY DO YOU THINK
THAT HAPPENED?

Cynthia says BECAUSE I THINK THEY THOUGHT,
OH, SHE'S AN ACTRESS WHO IS
TRYING TO SING.

Richard says RIGHT.

Cynthia says THEY DIDN'T REALIZE
I WAS A SINGER, TOO.
THERE'S A DIFFERENCE, I THINK,
WITH PEOPLE WHO CAN SING,
AND PEOPLE WHO ARE A SINGER.
AND I THINK BECAUSE OF ALL THE
MUSICAL THEATRE I'VE DONE,
I'M A SINGER.

Richard says NOW, YOU STARTED OUT VERY
YOUNG,
FINIAN'S RAINBOW
AND STUFF LIKE THAT.
THINKING BACK ON IT, DID IT
INFLUENCE YOUR CHILDHOOD?
DID YOU NOT HAVE A NORMAL
CHILDHOOD BECAUSE YOU WERE
BEING A STAGE KID, TOO?

Cynthia says THE HARDEST PART OF
CHILDHOOD, BEING IN THE
BUSINESS AS A CHILD
WAS THE NORMAL LIFE.
WAS GOING BACK TO SCHOOL.
BECAUSE I SPENT SO MUCH TIME --
I GREW UP IN THE HALLS OF CBC
AT 90 SUMAC STREET,
YOU KNOW?
I SPENT AS MUCH TIME THERE,
AND ON COMMERCIAL SETS,
AS I DID IN SCHOOL.
AND ON THOSE SETS I WAS
TREATED LIKE AN ADULT,
IN THE SENSE THAT I
HAD RESPONSIBILITY.
I WAS SUPPOSED TO
LEARN MY LINES.
I WAS SUPPOSED TO HIT MARKS.
I WAS TREATED WITH RESPECT.
GOING BACK TO GRADE SCHOOL,
THAT'S WHERE YOU'RE NOT
TREATED WITH RESPECT.
BECAUSE TEACHERS
TALK DOWN TO KIDS.
AND KIDS MAKE FUN OF WHAT
THEY DON'T UNDERSTAND.
THEY'D SEE ME ON TV EVERY
NIGHT WHEN THEY WENT HOME FROM
SCHOOL, AND YOU'RE DIFFERENT,
SO THEY MAKE FUN OF THAT.

Richard says RIGHT.

Cynthia says SO THAT WAS HARDER.
MY NORMAL LIFE WAS MUCH
HARDER TO DEAL WITH
THAN MY SHOWBIZ LIFE.

Richard says WE'RE TALKING ABOUT KID TIME.
WHAT ABOUT TEENAGE TIME?

Cynthia says TEENAGE TIME WAS EVEN WORSE.
BECAUSE, YOU KNOW, ON FRIDAY
NIGHTS, ALL YOUR FRIENDS ARE
GOING OFF TO THE PARTIES, AND
YOU'RE HEADING OFF TO YOUR
BALLET CLASSES.
AND, YOU KNOW, THE BOY YOU
LIKE IS GOING TO THE PARTY,
AND YOU DON'T GET TO THE PARTY
UNTIL 11:30 AND HE'S GONE,
I MEAN, IT WAS REALLY
HARD DURING HIGH SCHOOL.
YOU WEREN'T ONE OF THE GANG.

Richard says WAS IT GLAMOROUS TO THE GANG?

Cynthia says NO.

Richard says NO.
BECAUSE YOU
WEREN'T DOING ROCK.

Cynthia says ABSOLUTELY.
I'M NOT A ROCK AND ROLLER,
AND I REALLY WASN'T THEN.
NO, KIDS, AND EVEN TEENAGERS,
WHAT THEY DON'T UNDERSTAND IS
NOT INTERESTING TO THEM.
IT'S ODD.
AND WHEN YOU'RE A TEENAGER,
ESPECIALLY, YOU WANT TO BE
LIKE EVERYBODY ELSE.
YOU DON'T WANT
TO BE DIFFERENT.
YOU KNOW?
AS YOU GET OLDER, THAT'S WHEN
YOU WANT TO BE DIFFERENT.
BUT GROWING UP, KIDS, THEY
WANT TO BE LIKE EVERYBODY.

Richard says IT FORCED YOU TO GROW
UP, IN MANY WAYS, FASTER.
AND I REMEMBER SOMEBODY ONCE
SAID, OH YEAH, CYNTHIA IS 18
GOING ON 40, AT THAT TIME.
BUT ALTHOUGH YOU ARE ABLE TO
GET THE SOPHISTICATION DOWN,
INSIDE, WERE YOU EVEN 18,
OR WERE YOU EVEN YOUNGER?

Cynthia says I WAS PROBABLY YOUNGER.
AND YET, IT WAS LIKE SORT OF
LIVING IN TWO WORLDS, OBVIOUSLY.
BECAUSE, LIKE I SAID, I HAD
DISCIPLINE FROM ALL MY BALLET
BACKGROUND, AND THAT
DISCIPLINE HAS SORT OF LED
INTO MY WHOLE LIFE.
AND IT WAS A DISCIPLINE THAT
I GOT IN THAT WORLD THAT
I NEVER GOT IN
THE OTHER WORLD.
ALSO, IN THE SORT OF REGIMENT
OF THE SCHOOL SYSTEM,
BEING ARTISTIC
IS NOT FAVOURED.
IS NOT LOOKED UPON AS
SOMETHING FABULOUS
AND SOMETHING SPECIAL
AND INTERESTING.
IT'S IF YOU CAN'T DO MATH, AND
YOU CAN'T DO SCIENCE, AND YOU
CAN'T DO GEOGRAPHY, YOU'RE
NOT GOING TO PASS ALL YOUR
GRADES, AS OPPOSED TO BEING
ABLE TO EXCEL IN ALL THE
OTHER THINGS, THE ENGLISHES.

Richard says WHAT KIND OF
STUDENT WERE YOU?

Cynthia says I WAS AN AVERAGE STUDENT.
JUST AN AVERAGE STUDENT.
I WASN'T AN A STUDENT AT ALL.

Richard says SO YOU DIDN'T SEE AN
ACADEMIC CAREER AND LOTS OF
UNIVERSITY AND BAs AND
MAs, AND PhDs STRETCHING
IN FRONT OF YOU.
YOU KNEW IT WOULD
BE SHOW BUSINESS?

Cynthia says I KNEW IT WOULD
BE SHOW BUSINESS.

Richard says WHEN YOU WERE A TEENAGER, OR
EVEN YOUNGER, AND YOU WERE IN
YOUR ROOM, AND YOU SHUT THAT
DOOR AND LOOKED IN THAT AWFUL,
TACKY, FULL LENGTH MIRROR
ON THE BACK OF THE DOOR,
WHO WERE YOU?

Cynthia says AH...
WELL, PROBABLY EVEN YOUNGER,
AND UP INTO BEING A TEENAGER,
I WAS THE JUDY GARLANDS AND
THE BARBRA STREISAND, AND THE
LESLIE UGGAMS, AND CHITA
RIVERAS, ALL THOSE PEOPLE YOU
LISTEN TO ON SOUND TRACKS, ON
THE BROADWAY SOUND TRACKS AND
WATCHED ON TV AND THE MOVIES.
IT WAS ALL THOSE PERFORMERS.
I WASN'T THE JANICE JOPLINS
AND JONI MITCHELLS.
THAT WASN'T THE KIND OF MUSIC
I LISTENED TO GROWING UP.
IT REALLY WAS THE
ROSEMARY CLOONEYS.
IT WAS THAT MUSIC THAT I
LISTENED TO GROWING UP.

Richard says NOW, WHAT HAPPENED TO YOU,
UNFORTUNATELY, AS YOU WERE
HITTING YOUR YOUNG ADULTHOOD,
THE MUSICAL THEATRE WAS
REALLY KIND OF BOTTOMING
OUT, IN THIS COUNTRY,
AND CERTAINLY IN
AMERICA, AS WELL.
IT'S HAD A RESURGENCE, AS YOU
KNOW, IN THE LAST YEARS,
BUT DID YOU FIND IT HARD
FINDING A PLACE FOR YOURSELF?

Cynthia says WELL, THERE STILL WAS A LOT
OF THE SORT OF DINNER THEATRE
LEVEL OF STUFF DONE
WHEN I STARTED OUT.
NOW, THAT'S
COMPLETELY DRIED UP.
THE DELL, AND ALL
THAT STUFF, DRIED UP.
THERE STILL WAS CHARLOTTETOWN
AND THE BANFF SCHOOL.
THERE WAS STILL THAT
STUFF THAT YOU COULD DO.
AND I GUESS, AT THE SAME TIME,
IT WAS RIGHT WHEN THE BIG TAX
BOOM OF THE CANADIAN FILM
INDUSTRY WAS HAPPENING,
SO THERE WAS A LOT OF FILM
WORK, WHICH WAS GOOD FOR ME.
SO THAT'S WHAT
I STARTED DOING.
AND THEN, I SORT OF DID SOME
FILM ROLES, SOME SORT OF
BIG PARTS, THEN I
REALIZED, I THINK I BETTER
TAKE SOME ACTING CLASSES.

Richard says NOW, I MEAN, I'M CURIOUS,
WAS IT SOMETHING LAKE
HEAVENLY BODIES, WHICH
YOU CARRIED THAT FILM.
IT WASN'T WIDELY ACCLAIMED.
IS THAT A NICE
WAY OF PUTTING IT?
IT WAS KIND OF LIKE
AN AEROBICS MOVIE.
BUT YOU WERE ACTING YOUR
HEART OUT, AND YOU WERE
BEING TOTALLY SINCERE.
BUT WHEN YOU SAT
THERE AND WATCHED IT,
WHAT DID YOU THINK?

Cynthia says WELL, AT THE TIME, I DON'T
REMEMBER AS MUCH WHAT I THOUGHT.
NOW I LOOK AT IT, AND I JUST
DIE AT HOW EARNEST I WAS.

Richard says SO THERE'S NO TRUTH TO THE
RUMOUR YOU'VE BOUGHT ALL THE
COPIES AND BURNED THEM?
PEOPLE SAY IT'S DAMN HARD TO
FIND AT THE VIDEO STORES.

Cynthia says WELL, JUST WAIT, IT AIRS ON
ONE OF THE OTHER CHANNELS
ALL THE TIME.

Richard says NOT ON TVO.

Cynthia says NOT ON TVO, NO.
BUT IT DOES.
IT AIRS LIKE EVERY COUPLE
OF MONTHS ON THE TV.
AND THAT'S FINE.
I'M NOT THE SLIGHTEST BIT
ASHAMED OF THE PRODUCT.
WE SHOT IT IN 18
DAYS FOR 800,000 dollars.
IT WAS MY FIRST LEAD IN
ANYTHING, LET ALONE IN A FILM.
WE GOT TWO TAKES, IF WE
WERE LUCKY, ON ANYTHING.
IT WAS A ONE-TAKE MOVIE.

Richard says OH, ONE OF THOSE.

Cynthia says ONE OF THOSE.
AND I HAD A BLAST DOING IT.
SO, SURE, IF YOU HAD A CHANCE
TO DO MORE TAKES, AND LEARN
MORE, THEN IT WOULD
HAVE BEEN BETTER.
BUT FOR WHAT IT WAS, I'M NOT
THE SLIGHTEST BIT ASHAMED.
IT MADE ALL KINDS OF MONEY.
I TRAVELLED ALL OVER
THE WORLD PROMOTING IT.
AND IT WAS A GREAT
STEPPINGSTONE FOR ME, YOU KNOW?

Richard says SO WHERE DID YOU FIND YOUR
CAREER GOING AT THAT POINT,
THOUGH?

Cynthia says WELL, I GUESS I THOUGHT I
WOULD DO MORE TV AND FILM
AT THAT POINT.

Richard says BUT YOU HAD BOUNCED
BACK TO THEATRE, TOO.
IT WAS AROUND NOW YOU
WENT AND
TAMARA, RIGHT?

Cynthia says I DID.
I DID
DAMES AT SEA
IN
TORONTO, AND I DID
TAMARA
IN
NEW YORK, AND
PAL JOEY.
THEY ALL SORT OF FIT IN THE
MIDDLE THERE SOMEWHERE.

Richard says RIGHT.
COMING FROM THE BIG MOVIE,
AGAIN, I'M THINKING OF THAT,
EVEN THOUGH YOU SAID IT WAS A
TWO-TAKE MOVIE, IT'S STILL
A REASONABLY SIZED EVENT.

Cynthia says
BOY IN BLUE
WAS AFTER THAT
WHICH WAS A BIG TICKET MOVIE.

Richard says ABSOLUTELY.
AND YOU KNOW YOU ARE GOING
TO BE SEEN AROUND THE WORLD.
AND THEN THE NEXT THING YOU
KNOW YOU'RE PLAYING A SMALL
PART IN TARRAGON, IN A
MUSICAL, WITH A COMPANY WHO
EVERYBODY LOVED EVERYBODY, BUT
STILL, YOU LOOK OUT THERE AND
YOU THINK THERE'S MAYBE, IF
I'M REALLY LUCKY, 7,000 PEOPLE
WILL SEE THIS IN
THE ENTIRE RUN.
DID THAT EVER MAKE A
FUNNY EQUATION FOR YOU?

Cynthia says NO.
IT NEVER DID.
AT THAT POINT I WASN'T
THINKING LONG TERM CAREER.
IT WASN'T LIKE, IS THIS
GOOD FOR MY CAREER?
IT WAS ALL STEPPINGSTONES.
IT WAS ALL MOVING FORWARD.
AND I'VE DONE A LOT OF THINGS
WHERE PEOPLE, INCLUDING
FRIENDS AND FAMILY, HAVE
LOOKED AT ME AND SAID,
WHY DO YOU WANT TO DO THIS?
ARE YOU SURE THIS IS
A GOOD CAREER MOVE?
IF IT FEELS RIGHT IN MY GUT,
IT'S A GOOD CAREER MOVE,
YOU KNOW?

Richard says IF IT FEELS RIGHT, AND THEN
IT PROVES TO BE WRONG,
DO YOU HAVE SECOND THOUGHTS?

Cynthia says NONE OF IT PROVED TO BE WRONG
THOUGH, FOR ME, ACTUALLY.
IT ALL WAS GOOD FOR ME.
EVEN IF IT WASN'T THAT JOE
BLOW, BIG PRODUCER FROM
HOLLYWOOD SAW IT, IT WAS
STILL A GOOD MOVE FOR ME.

Richard says RIGHT.

Cynthia says IT WAS GREAT FOR
ME TO DO
PAL JOEY.
LARRY LILLO DIRECTED IT,
AND I THANK MY LUCKY STARS
THAT I GOT TO WORK WITH HIM.
TAMARA
WAS A FABULOUS
EXPERIENCE FOR ME,
MOVING TO NEW YORK
TO DO THAT.
SO I DON'T REGRET
THAT IN THE SLIGHTEST.
DAMES AT SEA
WAS
A BIG THING FOR ME.
IT WAS A BIG TAP SHOW
AND A BIG DANCE SHOW.
THAT WAS A REALLY GOOD STEP
FOR ME TO DO IN TORONTO.
SO I DON'T REGRET ANY OF THEM.

Richard says BUT DO YOU EVER LOOK BACK AND
SAY, GEE, MAYBE I SHOULD HAVE
STAYED IN L.A. LONGER,
OR I SHOULD HAVE
STAYED IN NEW YORK,
OR I SHOULD HAVE DONE
THIS, OR DONE THAT?

Cynthia says YEAH, I DO SOMETIMES.
I DO SOMETIMES.
SORT OF LONG BEFORE THE
TAMARA
STUFF, SORT OF
HEAVENLY BODY
STUFF,
BOY IN BLUE
STUFF.
MAYBE I SHOULD HAVE.
BUT I WOULDN'T BE HERE.
I WOULDN'T BE WORKING AT
STRATFORD RIGHT NOW, PROBABLY.
I WOULDN'T BE AS HAPPY AS
I AM IN MY LIFE RIGHT NOW.
WHAT IFS?

Richard says I THOUGHT THERE'S AN EDWARD
ALBEE QUOTE ABOUT SOMETIMES
YOU HAVE TO GO A LONG DISTANCE
OUT OF YOUR WAY IN ORDER TO
COME BACK A SHORT
DISTANCE CORRECTLY.
AND I THOUGHT ABOUT, IS IT
WHAT, 15 YEARS AGO YOU WERE
CHORUS GIRL HERE
IN
GONDOLIERS?

Cynthia says SOMETHING LIKE THAT.

Richard says AND IT TOOK A LONG TIME AND
A LOT OF STEPS TO GET BACK TO
STRATFORD, BUT IT'S WHERE
YOU WANT TO BE IN MANY WAYS.
THE MINUTE THE RUMOUR WAS OUT
THAT CYNTHIA DALE MIGHT GO TO
STRATFORD, I KNEW YOU WOULD
BECAUSE YOU WANTED TO
AND WANTED TO BE HERE.
BUT TO GET HERE, YOU HAD TO
DO
STREET LEGAL
IN A WAY.

Cynthia says I KNOW.
ABSOLUTELY.
ABSOLUTELY.

Richard says I WOULD LIKE TO REVISIT THE
GETTING INTO THAT BECAUSE
I MEAN, I'VE HEARD ONE
STORY THAT IT WAS JUST A
PHONE CALL TO YOU, SAYING
DO YOU WANT TO COME DO THIS.
OR WAS IT A CATTLE
CALL, OR WAS IT --?

Cynthia says FOR THIS, FOR STRATFORD?

Richard says NO, FOR
STREET LEGAL.

Cynthia says OH, FOR
STREET LEGAL.
I WAS IN NEW YORK
DOING
TAMARA.
AND I ACTUALLY CALLED MY AGENT
IN TORONTO AND SAID I HEAR
THE CASTING DIRECTOR FROM CBC
IS COMING DOWN TO NEW YORK
TO MEET CANADIANS.
I HAVEN'T SEEN HER SINCE I'VE
BEEN HERE, AND I HAVEN'T
SEEN HER FOR YEARS.
THIS WAS A NEW CASTING
DIRECTOR AT CBC AT THE TIME.
MAYBE I SHOULD GO
IN AND MEET HER.
I'M DIFFERENT NOW, SHE'S
DIFFERENT NOW, WHY NOT?

Richard says RIGHT.

Cynthia says AND SO MY AGENT
SET UP THIS MEETING.
IT WAS AT THE HOTEL THAT HER
AND A PRODUCER WERE STAYING AT.
AND SHE WALKED TOWARDS ME
IN THE LOBBY WITH SIDES.
AND I SAID, WHAT IS THIS?
AND SHE SAID, WELL, YOU'RE
AUDITIONING FOR A PART.
AND I SAID, OH, I THOUGHT
THIS WAS JUST A GO SEE.
I JUST CAME IN TO SAY HI.
I DIDN'T REALIZE...
AND THEN WHEN I REALIZED IT
WAS A LAWYER, I COULDN'T SAY
CIVIL LITIGATION, LET
ALONE KNEW WHAT IT MEANT.
IT WAS ALL THIS LEGAL JARGON
AND THIS REALLY SORT OF
TOGETHER, REVVING WOMAN.
I WAS PLAYING THIS 17-YEAR-OLD
VIRGIN IN NEW YORK.
IT WAS SO OUT OF MY REALM OF
EXISTENCE THAT I COULDN'T EVEN
IMAGINE WHO THIS WOMAN WAS.
SO I THOUGHT, WHAT
HAVE I GOT TO LOSE?
THAT'S THE WAY I'LL DO MY GO
SEE, GO IN AND LEARN THIS.
SO I SAT THERE AND TRIED
TO LEARN THE LINES.
WENT UP ABOUT HALF
AN HOUR LATER.
WITH THIS LITTLE CAMERA, THEY
SORT OF SHOT MY AUDITION.
I WENT HOME IN THE AFTERNOON
THINKING, YOU KNOW,
NOTHING WILL EVER HAPPEN.
IT WAS A GOOD TIME.
WE HAD A GOOD MEETING.
AND THERE WAS A STORE ON
MADISON AVENUE IN NEW YORK
THAT I USED TO WALK BY ALL THE
TIME THAT HAD ANTIQUE WATCHES.
AND MY NICKNAME IS PEANUT.
AND THERE WAS AN ANTIQUE
Mr. PEANUT WATCH IN THE WINDOW
THAT I COVETTED.
AND I USED TO LOOK AT.
FOR MONTHS, I USED
TO LOOK AT IT.
OF COURSE, AN OFF-BROADWAY
SALARY, THERE'S NO WAY YOU
COULD HAVE AFFORDED THIS.
AND I REMEMBER WALKING BY
THE STORE AT THE TIME AFTER
BECAUSE THE HOTEL WAS AROUND
THE CORNER FROM THIS WATCH
SHOP, AND I SORT OF LOOKED IN
THE WINDOW AND THOUGHT, YEAH,
IF I GET THE JOB,
I'LL BUY THE WATCH.
AND NEVER THOUGHT
ANYTHING ABOUT IT.
THAT NIGHT, WENT AND DID THE
SHOW
TAMARA, WENT AND PLAYED
POKER WITH THE CREW
AFTERWARDS, AS WE ALWAYS DID
THE NIGHT BEFORE OUR DAY OFF.
GOT HOME ABOUT THREE OR FOUR
IN THE MORNING, AND THERE WERE
ALL THESE MESSAGES ON MY
SERVICE FROM MY AGENT IN
TORONTO SAYING, I DON'T KNOW
WHAT THE HELL YOU DID, BUT
THEY WANT TO FLY YOU TO
TORONTO TO SCREEN TEST YOU.
YOU BETTER GET YOUR STUFF
TOGETHER AND GET ON A PLANE
TOMORROW MORNING RIGHT AWAY.
ON YOUR DAY OFF.
AND THAT'S WHAT HAPPENED.
I DIDN'T OWN A LITTLE SUIT.
I RAN OUT TO A STORE IN SOHO,
BOUGHT A LITTLE SUIT, FLEW TO
TORONTO, DID MY AUDITION,
FLEW BACK AND DID THE SHOW.
A WEEK LATER, I FOUND
OUT I HAD THE JOB.
AND I WENT AND
BOUGHT THE WATCH.

Richard says THAT'S THE BEST PART.
THE SHOW HAD BEEN ON
THE AIR FOR A YEAR.
AND YOU HAD NEVER SEEN IT.

Cynthia says NEVER SEEN IT.

Richard says AND THE CONVENTIONAL WISDOM
WAS IT WAS THIS NICE, SINCERE,
EARNEST, KIND OF FUZZY LAW
SHOW THAT NEEDED PERKING UP.
AND DID YOU KNOW YOU WERE MISS
PERK IT UP, GET IT SIZZLING?

Cynthia says WELL, I DON'T KNOW IF ANYONE
REALLY KNEW WHAT THAT MEANT
AT THE TIME.
YOU KNOW?
I KNEW THAT'S
WHAT THEY WANTED.
THEY WANTED THIS CHARACTER
TO SORT OF STIR UP
THE POT A BIT.
AND I DID MY SCREEN TEST
OFF C. DAVID JOHNSON
AND ERIC PETERSON BECAUSE THEY
WANTED TO SEE IF THERE WAS
ANY SPARK AND A FRICTION
BETWEEN US ALL.
AND I GUESS IT WORKED.
I MEAN, THEY CALLED ME
AND SAID, CUT YOUR HAIR
AND LOSE TEN POUNDS.
I MEAN, THAT WAS THE
WAY I GOT THE PART.
AND I WAS ON AUDITION
FOR THE WHOLE YEAR.
I DIDN'T HAVE EVEN
A YEAR CONTRACT.

Richard says REALLY?

Cynthia says THEY PICKED UP MY
OPTION EVERY SIX WEEKS.

Richard says WHAT DID THAT FEEL LIKE?

Cynthia says LIKE I WAS ON AUDITION
THE WHOLE TIME.
LIKE I HAD TO PROVE
MYSELF FOR A WHOLE YEAR.

Richard says GOD.

Cynthia says I KNOW.

Richard says SO WAS THE
CHARACTER LAID OUT?
NOW, IN RETROSPECT, EVERYBODY
WHO EVER WATCHED
STREET LEGAL
THINKS THEY KNOW WHAT
OLIVIA WAS LIKE, RIGHT?
AND THEY THINK SHE WAS THIS
HUSSY, AND SHE WAS THIS BITCH,
AND SHE WAS THIS MAN STEALER,
AND MAN CHASER, AND SHE WOULD
KILL HER MOTHER IF IT
WOULD GET HER A CASE.
OBVIOUSLY, THAT WASN'T ALL
WRITTEN FROM THE BEGINNING,
WAS IT?

Cynthia says NO, NO.
I MEAN, AT THE BEGINNING, IN
THE FIRST SEASON, ALL YOU
CAN WRITE, REALLY, IS
THE BLACK AND WHITE.
YOU HAVE TO SORT OF ESTABLISH
A CHARACTER AND GET IT OUT
THERE AS MUCH AS POSSIBLE.
AND SHE WAS PRETTY
BLACK AND WHITE.
WE RE-SHOT HER
FIRST EPISODE, TOO.
BECAUSE THEY THOUGHT
I WAS TOO MUCH.
I DON'T KNOW TOO MUCH
WHAT, BUT TOO MUCH.
WITHIN ABOUT A YEAR, I WAS
BACK AT THAT LEVEL THEY
THOUGHT WAS TOO MUCH,
AND OF COURSE IT WAS
INCREDIBLY SUCCESSFUL.

Richard says BECAUSE PEOPLE
HAD GONE WITH YOU.

Cynthia says THEY WERE JUST TOO AFRAID
THAT SHE WAS JUST TOO ABRASIVE
AND AGGRESSIVE, AND SEXY, AND
FAST, AND ALL THAT STUFF.
IT WAS A MATTER OF TRYING TO
FIGURE OUT HOW SHE'D FIT IN
AND WHERE IT WOULD WORK.
SO, YOU KNOW, YOU WRITE THE
CHARACTER AT THE BEGINNING
WITH ALL THE BLACK AND WHITE
STROKES, AND THEN IT'S YOUR
JOB AS THE ACTRESS AND THE
WRITERS WORKING TOGETHER.
WHEN YOU HAVE ALL THOSE YEARS
TOGETHER, YOU CAN DO SO MUCH
WITH A CHARACTER TO FIND
THE GREY, YOU KNOW,
THE OTHER COLOURS.
THE COLOURS IN THERE THAT
DON'T MAKE A CHARACTER
BLACK AND WHITE.
SHE WASN'T A
CARTOON CHARACTER.
SHE WAS EVERYTHING YOU JUST
SAID, AND SHE WAS VULNERABLE
AND SCARED AND, YOU KNOW,
WEAK AND ALL THAT STUFF, TOO.
YOU CAN'T PLAY JUST THOSE
QUALITIES FOR SEVEN YEARS.

Richard says NO.
WHAT I'D ALWAYS LOOK FOR IS
THE MOMENTS AFTER YOU'D HAVE
ONE OF THOSE BIG ARCHETYPAL
OLIVIA SCENES WHERE YOU WOULD
HAVE JUST DONE SOMEONE OR
TRASHED THEM OR THAT, AND THEY
WOULD LEAVE THE ROOM, AND THE
CAMERA WOULD GO BACK AND HOLD
ON YOU FOR A SECOND, AND YOU
SAW YOUR FACE, WHAT MAYBE
THAT HAD COST YOU.
AND WHAT YOU WERE
MAYBE REALLY THINKING.
THOSE WERE GREAT.
AND YOU THINK, WELL, THEY
COULDN'T WRITE THOSE.

Cynthia says NO.
THAT WAS JUST FINDING, YOU
KNOW, WHERE THIS WOMAN LIVED,
AND WHERE SHE SORT OF...
I ALWAYS FELT LIKE SHE REVVED
AT A DIFFERENT SPEED
THAN CYNTHIA DID.
HER INTERNAL CLOCK WAS FASTER.
EVERYTHING ABOUT
HER WAS FASTER.

Richard says BUT THEN, YOU SEE, THE
STRANGE THING HAPPENS.
I REMEMBER, I DON'T KNOW IF IT
WAS THE SECOND OR THIRD YEAR
YOU WERE ON, THEY HAD THAT
INCREDIBLE ELABORATE AD
CAMPAIGN ABOUT THE
HEAT IS ON THE STREET.
AND IT WAS SUDDENLY, IT
WAS SELLING THE SEX,
FRONT AND CENTRE.
DID THAT EVER MAKE
YOU UNCOMFORTABLE?

Cynthia says NO, BECAUSE IT WAS CBC.
IT WASN'T THAT SEXUAL.
IT WASN'T AS IF YOU WERE
SELLING A FEATURE FILM
THAT WAS R-RATED.
IT WAS, WE WERE FULLY
DRESSED, ALL THE TIME.
THE SEXUALITY WAS
IN THE PLAYING.
IT WAS IN THE WHITE
PART OF THE PAGE.
IT WASN'T EVEN IN THE TEXT.
IT WAS WHAT HAPPENED
BETWEEN THE CHARACTERS.
AND THAT'S WHAT
WAS INTERESTING.
AND THAT'S WHAT
WAS SO FABULOUS.
THEY DIDN'T KNOW C. DAVID
JOHNSON AND CYNTHIA DALE,
AND CHUCK AND OLIVIA WERE
GOING TO CLICK LIKE THEY DID.
YOU CAN'T MANUFACTURE THAT.
YOU CAN'T CAST THAT.
THAT JUST HAPPENS.
AND WE'RE LUCKY
IT JUST HAPPENED.
WE BOTH LOVED
WORKING TOGETHER.
AND WE WORKED REALLY
WELL OFF EACH OTHER.

Richard says BUT WHAT ABOUT, SEE,
THERE'S A TWO-EDGED SWORD.
IT MAKES YOU FAMOUS, BUT ON
THE OTHER HAND, ARE THERE
PEOPLE, AND YOU KNOW
THERE'S PEOPLE OUT THERE,
WHO THINK YOU ARE OLIVIA.

Cynthia says YEAH, I KNOW.
AT THIS POINT, I COULD BEAT
MY HEAD AGAINST A BRICK WALL
TRYING TO CONVINCE
THEM THAT I'M NOT.
IT'S THEIR PROBLEM IF THEY
STILL THINK I'M OLIVIA.
BECAUSE I KNOW I'M NOT.
I KNOW I WASN'T
OLIVIA THEN, YOU KNOW?
I WASN'T.
YOU KNEW.
I WAS CYNTHIA.
I WAS PLAYING A CHARACTER.
I'M AN ACTRESS, YOU KNOW?

Richard says BUT WHERE IT GETS MESSY IN
TERMS OF YOU IS, FOR EXAMPLE,
WHEN YOUR PERSONAL LIFE
COMES ALONG, AND PEOPLE GO,
OH YEAH, CYNTHIA AND
PETER MANSBRIDGE,
JUST LIKE OLIVIA AND CHUCK.
AND THEY WANT TO EQUATE
THINGS LIKE THAT.
I MEAN, WITH ALL
THE GOSSIP AND THAT.
HOW DO YOU REACT
TO THAT STUFF?

Cynthia says I KNEW I WAS DIFFERENT.
I WASN'T OLIVIA.
AND THE SITUATION
WASN'T PARALLEL.
IT WASN'T THE SAME.
AND SO YOU JUST DON'T
DEVOTE A LOT OF ENERGY
THINKING ABOUT IT.
YOU REALLY CAN'T.

Richard says DO YOU HAVE A PRIVATE
PLACE INSIDE YOU SEAL OFF?

Cynthia says WELL, I'M A PRETTY PRIVATE
PERSON IN THE SENSE THAT
I'M NOT A PUBLIC PERSON.
I DON'T GO TO A
LOT OF PARTIES.
I DON'T GO TO A LOT OF --
I DON'T SCHMOOZE A LOT.
I DON'T DO THAT STUFF.
SO THAT'S HOW YOU BECOME
PRIVATE, YOU KNOW?
AND YOU JUST...
YOU KNOW WHAT THE TRUTH IS.
AND YOU JUST, YOU KNOW, THEY
ARE GOING TO WRITE ABOUT YOU.
THEY'RE GOING TO
TALK ABOUT YOU.
AT SOME POINT, YOU'RE
GLAD THEY TALK ABOUT YOU.
YOU WANT PEOPLE TO KNOW
YOUR NAME AND WHO YOU ARE,
AND AT SOME POINT YOU REALIZE,
THEY'LL KNOW ME AS AN ACTRESS,
NOT JUST AS SOMETHING
ELSE, YOU KNOW?
FOR THE PEOPLE WHO THOUGHT I
WAS OLIVIA, IF THEY SAW ME
IN THIS, THEY'D KNOWN.

Richard says QUEEN GUINEVERE IS NOT
THE SAME THING, YOU KNOW?
RIGHT AFTER
STREET LEGAL,
IT
WAS CANCELLED AT THE HEIGHT
OF ITS FAME.
BUT THAT'S A
WHOLE OTHER STORY.
WE NEED NOT GO INTO THAT.
IT'S VERY TYPICAL CBC.
YOU KNOW, 'OH, IT'S
WORKING, LET'S KILL IT'.

Cynthia says WELL, YOU KNOW, IT WAS...
THERE WAS NOTHING THE MATTER
WITH CANCELLING WHEN THEY DID.
THEY COULD HAVE MADE IT
WORK A LITTLE LONGER.
BUT ALL OF US WERE
UP FOR RENEWAL.
WE HAD NO EXECUTIVE
PRODUCER.
THERE WERE LOTS OF THINGS
IN THE AIR THAT HAD
TO BE PUT INTO PLACE.
IT WAS A NEW REGIME.
THEY WANTED TO PUT THEIR
STAMP ON A NEW SHOW.
I MEAN, IT ALL MADE SENSE.
THEY COULD HAVE GOT MORE OUT
OF
STREET LEGAL
HAD THEY
WANTED TO, BUT IT
ENDED ON A HIGH.
IT'S SIX OF ONE, HALF
A DOZEN OF THE OTHER.
WALK OUT ON A HIGH, OR
HANG AROUND TOO LONG.

Richard says SO IMMEDIATELY COASTING ON --
NO, NOT 'COASTING'.
THAT'S THE WRONG WORD,
BUT COMING OFF THAT,
WHAT DID YOU THINK
WAS GOING TO HAPPEN?

Cynthia says UM...
I DON'T KNOW.
I WAS REALLY EXCITED ABOUT
FINDING OUT WHAT LIFE WOULD
BE LIKE OUTSIDE, YOU KNOW?
BECAUSE WE'D BEEN IN THERE FOR
SIX YEARS, OR SEVEN YEARS.
AND YOU FEEL REALLY PROTECTED.

Richard says ALSO, A WEEKLY SHOW TAKES
OVER YOUR LIFE, RIGHT?

Cynthia says YEAH.
AS MUCH AS THIS
TAKES OVER YOUR LIFE.
ACTUALLY, THIS TAKES
OVER YOUR LIFE MORE.

Richard says REALLY?

Cynthia says I THINK, YEAH.
I THINK THEATRE IS TEN TIMES
MORE OBSESSIVE, REALLY, I DO.

Richard says IS IT BECAUSE YOU PUT
MORE OF YOURSELF IN?
I START TO SAY IT AS A FACT,
BUT I ASK IT AS A QUESTION.

Cynthia says YOU PUT MORE OF YOURSELF
ON THE LINE, IN A WAY.
I CAN'T LOOK AT THE CAMERA AND
GO, OH, THAT'S A REALLY BAD
TAKE, CAN I DO THAT AGAIN?
I CAN'T DO THAT.
I HAVE TO GO WITH IT IN FRONT
OF 1800 PEOPLE EVERY NIGHT,
AND MAKE IT GOOD, AND NOT RELY
ON GOING FOR ANOTHER TAKE,
YOU KNOW?

Richard says I SHOULD TELL YOU WHAT I FIND
THE MOST SURPRISING MOMENT
IN YOUR PERFORMANCE AS
GUINEVERE IS WHEN YOU COME BACK
IN THE FINAL SCENE.
USUALLY, YOU SEE A KIND
OF VAGUELY SAD GUINEVERE.
YOU WERE RIPPED APART.
YOU'D OBVIOUSLY BEEN THROUGH A
GREAT DEAL OF EMOTIONAL TORMENT.
AND I DON'T KNOW -- CERTAINLY,
I WAS NOT READY TO SEE THAT
LEVEL COMING OUT
AT ME ON THE STAGE.
I WAS THRILLED BY IT, AND IT
MADE FOR A GREAT MOMENT OF
THEATRE, BUT HOW DO
YOU SUMMON THAT UP?
I MEAN, IN THE MIDDLE OF THIS
WORLD OF THE MUSICAL, EVEN
THOUGH IT'S ABOUT LOVE AND
PASSION AND DEATH, SUDDENLY,
THERE YOU ARE, ON THE
LINE, IN THE LAST SCENE.

Cynthia says ALL I KNOW IS THAT'S WHAT
THE SCENE MAKES ME DO ANYWAY.
AT THAT POINT, I'M SO IN LOVE
WITH ARTHUR, THAT IT BREAKS
MY HEART TO HAVE BROKEN
HIS HEART LIKE I HAVE.
AND THE SADNESS TO
ME IS UNBELIEVABLE.
YOU KNOW, HERE WE ARE TWO
PEOPLE WHO WILL DESPERATELY
DID LOVE EACH OTHER, AND RULED
TOGETHER, AND IT'S ALL GONE.
EVERYTHING THAT HE WISHED
FOR AND DREAMED FOR
HAS BEEN SHATTERED.
AND A LOT OF IT
HAS TO DO WITH ME.
AND IT BREAKS MY HEART.
IN REHEARSALS, I SOBBED
LIKE A BABY IN THOSE SCENES.
SO THAT'S JUST WHAT
HAPPENS ON STAGE.
NOW, I CAN'T SOB LIKE THAT
EVERY NIGHT ON STAGE BECAUSE
IT'S NOT INTERESTING TO WATCH
AN ACTRESS SOB LIKE THAT.
BUT THAT'S THE LEVEL THAT THE
STORY, FOR ME, GETS TO, IS
THAT IT IS INCREDIBLY SAD AND
HEARTWRENCHING THAT THAT'S
WHAT HAPPENS TO THOSE
THREE PEOPLE AT THE END.

Richard says YET, WHEN YOU COME OUT OF
THE SHOW, I'M CURIOUS,
THEY ALWAYS SAY THIS IS
THE HOPE MUSICAL, RIGHT,
THE JOHN KENNEDY MUSICAL.
DO YOU FEEL, AT THE END OF
THAT BECAUSE THE LAST TIME WE
SEE YOU IS THAT CATHARTIC,
DOWN MOMENT, WHAT IS THAT LIKE
TO BRING AWAY FROM
THE THEATRE WITH YOU?

Cynthia says IT'S REALLY HARD.
IT'S REALLY HARD.
IT'S... YOU SORT OF SIT IN YOUR
DRESSING ROOM SOMETIMES AND
CRY IT OUT BECAUSE YOU DON'T
GET TO CRY IT OUT ON STAGE.

Richard says RIGHT.

Cynthia says BUT IT'S ONE OF THE REASONS
WHY I LOVE DOING THIS SHOW
BECAUSE IT'S NOT...
IT'S NOT THAT ANY TIME, LET
ALONE ALL THE WAY THROUGH IT.
SHE REALLY GETS TO GO
THE GAMUT OF EMOTIONS.
AND HER JOURNEY IS HUGE
EMOTIONALLY AND PHYSICALLY
AND ALL THAT.
I'VE SAID FROM THE BEGINNING,
IT'S A MONSTER OF A SHOW
FOR ME, EMOTIONALLY
AND PHYSICALLY.
THE QUICK CHANGES, AND THE
COSTUMES ARE SO HEAVY, AND THE
RUNNING UP AND DOWN THE
STAIRS, AND VOCALLY,
AND THE ENERGY,
AND
THE EMOTION.
I MEAN, IT IS, IT'S A
MONSTER THIS SHOW FOR ME.
IT JUST FEELS LIKE EVERY NIGHT
AT 8 O'CLOCK I GET ON THIS
SORT OF GINORMOUS TRAIN AND
KEEP RUNNING FOR THREE HOURS.

Richard says WHAT ABOUT THE ADVANCE
PUBLICITY ABOUT IS
CYNTHIA DALE GOING
TO SELL THE SEASON?
IS CYNTHIA DALE GOING TO
HELP CARRY THE SEASON?
DID YOU EVER FEEL THAT WAS AN
ADDED WEIGHT ON YOUR SHOULDERS?

Cynthia says NEVER.

Richard says NEVER?

says I NEVER THOUGHT ABOUT IT.
IT'S NOT MY JOB.
THAT'S A PRODUCER'S
JOB TO THINK ABOUT.

Richard says WHAT IS YOUR
JOB IN THIS CASE?

Cynthia says TO GET OUT ON STAGE
AND TELL THE STORY.

Richard says NOW YOU'RE ALSO HAVING --

Cynthia says I'M NOT NAIVE, AND I DO
REALIZE THEY BROUGHT IN
SOME SORT OF A NAME, BUT I
DIDN'T COME HERE AS A STAR.
I'M A COMPANY MEMBER.
AND THAT'S THE WAY
I THINK OF MYSELF.

Richard says RIGHT.

Cynthia says I DON'T BELIEVE
IN STAR TRIPS.
I JUST DON'T THINK
THEY GET YOU ANYWHERE.
I'M JUST NOT THAT KIND
OF PERSON TO DO IT.
AND IF THE NAME HAPPENS TO
SELL TICKETS AND PEOPLE COME
OUT OF INTEREST, FABULOUS.
IF IT HELPS PEOPLE GET TURNED
ONTO THEATRE, EVEN BETTER.
BUT AS FAR AS THINKING, OH, MY
GOD, I HAVE THIS HUGE WEIGHT
ON MY SHOULDERS, I BETTER DO
A GOOD SHOW, I CAN'T THINK OF
THAT, OR I WOULD JUST GET
SORT OF SNOWED UNDER IN THE
PRESSURE OF THIS GINORMOUS
THEATRE, YOU KNOW?
ALL I CAN DO IS GO OUT AND
TELL THE STORY, AND BE
PROFESSIONAL, AND SING MY
SONGS, AND CONNECT WITH MY
OTHER ACTORS, AND
THAT'S ALL I CAN DO.
AND IF I CAN DO THAT THE
ABSOLUTE BEST I CAN, WHICH IS
AT ABOUT 150 PERCENT, THEN
IT'LL DO ALL THAT YOU SAID.

Richard says NOW, WE'RE STILL SITTING
IN A POSITION WHERE YOU WERE
APPROACHED BY RICHARD
MONETTE TO DO
CAMELOT.
DO YOU WANT TO BE IN A
POSITION WHERE YOU COULD
GENERATE IT AND SAY, I WANT TO
PLAY THIS, LET'S GET IT ON,
LET'S DO IT?

Cynthia says I WOULD LIKE TO BECAUSE THERE
IS A COUPLE OF SHOWS I'D LIKE
TO DO, THAT PROBABLY
WOULDN'T HAPPEN NORMALLY.
LIKE THEY WOULDN'T BE PUT
IN A SEASON OR SOMETHING.

Richard says QUEEN LEAR.

Cynthia says THERE'S A COUPLE OF
SHOWS I WANT TO DO.

Richard says DRAMAS?
MUSICALS?

Cynthia says THERE'S A COUPLE OF DRAMAS,
BUT THERE'S A MUSICAL
I REALLY WANT TO DO.

Richard says I GOTTA ASK, IF
YOU'RE SAYING THAT.

Cynthia says YOU KNOW WHAT IT IS!

Richard says SWEET CHARITY.

Cynthia says YEAH, I'M DYING TO DO IT.
I WANT TO DO IT.
BUT, YOU KNOW, I'D LOVE TO
BE ABLE TO GO TO SOMEBODY
AND SAY, SO DO YOU
WANT TO DO THIS?
CAN WE MAKE THIS HAPPEN?
I'M NOT NAIVE ENOUGH TO THINK
THAT HAPPENS IN CANADA.
IT JUST DOESN'T
HAPPEN IN CANADA.

Richard says DO YOU THINK IT WOULD
HAPPEN IN THE STATES?

Cynthia says IT HAPPENS WITH AMERICAN
STARS IN THE STATES, I THINK.
I THINK AMERICAN STARS --

Richard says SO WHY DOESN'T
IT HAPPEN HERE?

Cynthia says MONEY IS TIGHTER?
I DON'T KNOW.

Richard says I DON'T KNOW.
THEY'VE ALWAYS SAID WE EAT
OUR YOUNG HERE IN CANADA.
WE DON'T WANT SOMEONE TO
BE A STAR HERE FOR TOO LONG.
WE EITHER CANCEL THEIR SERIES,
OR WE ELEVATE THEM AND THEN
WE DENIGRATE THEM, WE DON'T
WANT ANYONE TO GET TOO BIG
FOR THEIR BRITCHES.
DO YOU BELIEVE THAT?

Cynthia says YES AND NO.
I CAN SEE IT.
I DON'T SPEND A LOT OF MY LIFE
DWELLING ON IT BECAUSE IT'S
A NEGATIVE, AND I JUST, I
COULDN'T GET UP EVERY DAY AND
DO WHAT I HAVE TO DO, AND I
DON'T MEAN EVEN HERE, I MEAN
JUST IN MY LIFE, BEING A
PERFORMER IF I THOUGHT
ABOUT THAT TOO MUCH.
AND THERE HAVE BEEN TIMES
WHERE I FELT REALLY BEATEN UP.
AND THERE HAVE BEEN MOMENTS
WHERE I'VE ACTUALLY THOUGHT,
MAYBE I SHOULDN'T
BE IN THIS BUSINESS.
MAYBE I HAVE TO LEAVE
FOR A WHILE, YOU KNOW?
MAYBE I'M NOT GOOD ENOUGH.
MAYBE I'M NOT TOUGH ENOUGH.
MAYBE I HATE THE POLITICS
AS MUCH AS THERE IS.

Richard says PEOPLE WHO PERCEIVE YOU
AS BEING REALLY RUGGED
AND REALLY TOUGH TO HEAR
CYNTHIA DALE SAY, MAYBE
I'M NOT TOUGH ENOUGH TO LAST
IN CANADIAN SHOW BUSINESS.
THAT'S SURPRISING.

Cynthia says WELL, I'D RATHER BE --
ACTUALLY, I'M VERY GLAD I'VE
GONE THROUGH THOSE TIMES TO
QUESTION BECAUSE IF I HADN'T
QUESTIONED, AND I BLINDLY
SORT OF FORGED AHEAD,
THAT WOULD BE A BIT DUMB.
NO, THERE HAVE BEEN MOMENTS
WHERE I'VE REALLY SAT BACK
AND THOUGHT, THIS HURTS.
THIS HURTS.
I DON'T KNOW IF I
CAN CONTINUE THIS.
I CAN'T DO ANYTHING ELSE,
THAT'S THE PROBLEM.
I CAN'T DO ANYTHING ELSE.
THIS IS ALL I KNOW HOW TO DO.
THIS IS ALL I
WANT
TO DO.
THIS IS ALL I AM.

Richard says WELL, I HOPE YOU KEEP
DOING IT FOR AS LONG AS
YOU WANT TO DO IT.
CYNTHIA DALE, THANK YOU.

Cynthia says THANKS.

Richard faces the screen and says
FOR DIALOGUE, THIS
IS RICHARD OUZOUNIAN.
GOOD-BYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1997, The Ontario Educational Communications Authority.

Watch: Cynthia Dale