Transcript: Lally Cadeau | Oct 25, 1998

(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 laughing and talking in a television changing room: “Lally Cadeau. Actor.”

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, blue shirt, and striped yellow tie.

He says WELCOME TO
DIALOGUE.
I'M RICHARD OUZOUNIAN.
SO, OKAY, AMERICA
HAS MERYL STREEP,
BUT WE HAVE
LALLY CADEAU.
NOT ONLY ARE THEY
BOTH GREAT ACTRESSES,
BUT THEY BOTH HAVE AN
AMAZING COMMAND OF ACCENTS.
IN THE LAST COUPLE
OF YEARS ALONE,
I'VE HEARD THIS LADY DO
GREEK, ITALIAN, SCOTS,
AND IRISH, AND PROBABLY A
FEW I MISSED ALONG THE WAY.
THIS
DIALOGUE
- IN WHATEVER
ACCENT WE CHOOSE TO USE -
IS WITH LALLY CADEAU.

Lally is in her thirties, with long straight blond hair tied up in a bun. She’s wearing a white blouse, and a black polka-dotted skirt.

Richard continues LALLY, THANK YOU FOR
JOINING US TODAY.
HOW DO YOU DO THAT?
HAVE YOU FALLEN INTO THIS
BECOMING THE EXPERT
OF HOW DO A PART IN A
DIFFERENT ACCENT?

A caption appears on screen. It reads “Lally Cadeau. Actor.”

Lally says I WORRY ABOUT THAT
SOMETIMES BECAUSE I THINK
PEOPLE WILL THINK THAT I
DON'T KNOW HOW TO ACT
UNLESS I'M USING
A DIALECT.
BUT ACTUALLY, I GUESS,
FOR THE LAST 25 YEARS,
I'VE DONE A LOT OF
CHARACTER ROLES.
I USED TO DO A LOT OF
CHARACTER ROLES.
THE FIRST ROLE I EVER DID
WAS A FRENCH CANADIAN,
IN BROKEN PIECES.
I'VE WORKED, ACTUALLY,
IN FRENCH, IN JOUAL,
AND I'VE WORKED IN A NUMBER
OF DIFFERENT DIALECTS.
TO ME, THAT'S WHAT
ACTING IS ABOUT;
IT'S ABOUT BEING A CHARACTER
AND PUTTING ON THE VOICE
AND THE SHOES AND THE WHOLE
SPIRIT OF THE CHARACTER,
JUST TAKING IT ALL ON.
AND IF THAT HAS TO
DO WITH A DIALOGUE,
THEN ALL THE BETTER.

Richard says HOW DO YOU DO IT?
SOME PEOPLE LISTEN TO
PEOPLE WHO HAVE THE ACCENT,
SOME PEOPLE GET RECORDS,
SOME STUDY BOOKS.
WHAT'S YOUR APPROACH?

Lally says NOW, THIS TIME, WE HAD A
WONDERFUL EXPERIENCE
WITH A WOMAN, CATHERINE
CHARLTON, FROM ENGLAND.

Richard says AND THIS IS WITH THE
PRIME OF
MISS JEAN BRODIE.

Lally says BECAUSE EDINBURGH'S
A TRICKY DIALECT.
IT DOESN'T HAVE THE
BROADNESS OF GLASGOW
OR JUST THAT LOVELY
SOFTNESS OF PERTH.
IT'S QUITE DISTINCT AND
THE FACT THAT IT WAS
IN THE PERIOD IT WAS IN MADE IT
EVEN MORE DISTINCT BECAUSE
AT THAT POINT, EDINBURGH
WAS INFLUENCED BY ENGLAND,
WHICH WAS INFLUENCED
BY NOEL COWARD,
SO THERE WAS ALL THAT
PARTICULAR AFFECTATION THAT
WENT ALONG WITH IT - GALS.
AND THE VOICE REALLY DOES A
PARTICULAR RISE AND FALL.
AND THERE'S A FALL AT THE
END, AND FALL AT THE END.
AND IT'S THAT
LOWLAND SCOTS THING.
SO, THERE'S NO
AIRY-FAIRYNESS ABOUT IT,
AND WE DID A LOT OF
WORK WITH CATHERINE
ABOUT THE HISTORY OF THE
AREA, WHY THE ACCENT,
HOW THE ACCENT DEVELOPED
THE WAY IT DID.
IT WAS FASCINATING, AND WE
LISTENED TO A LOT OF TAPES,
AND WE HAD PEOPLE COME
IN AND SPEAK TO US
WHO WERE FROM THAT AREA.

Richard says SO, IT ISN'T JUST ABOUT,
LET'S STUDY VOWELS
AND GO INTO A
COOKIE CUTTER.
IT ALSO HELPS TO BE
NURTURED BY THE TIMES AND
THE PEOPLE AND THE CULTURE.

Lally says ABSOLUTELY, AND THEN WE
DID DO A LOT OF JUST VOWEL
PAPERWORK ON THE L's
AND THAT SORT OF THING.
THAT WAS VERY
INTERESTING.
AND WITH THE TEXTS
THAT WE'RE USING,
FOR
NIGHT OF THE IGUANA,
I'VE JUST BEEN LISTENING
TO TAPES IN MY CAR
OF LADY COPPS
AND IT'S FABULOUS
TO LISTEN TO.
USUALLY, IT'S MORE
OF AN OSMOSIS;
YOU LISTEN TO ONE
OR TWO THINGS,
YOU WATCH ONE OR TWO
THINGS, YOU ABSORB IT.
AND ABOVE AND BEYOND
EVERYTHING ELSE,
IT'S THE CHARACTERS.
SO, AT A CERTAIN POINT,
IF YOU HAVE A COACH,
YOU HAVE TO SAY, I CAN'T
SEE YOU ANYMORE BECAUSE
THIS IS AS FAR AS I
CAN GO WITH THIS.
WHAT I HAVE TO DO NOW IS
DEVELOP THE CHARACTERS,
FIND OUT EXACTLY WHO
THIS CHARACTER IS.
THAT WORK ALMOST BECOMES
INTRUSIVE AT THAT POINT;
ANY KIND OF DRILL WORK
BECOMES INTRUSIVE.
YOU REALLY HAVE TO JUST
FEEL AND BE INSIDE
THE CHARACTER AT
THAT POINT.

Richard says AND IF THE PLAY IS
WRITTEN WELL, OF COURSE,
THE DIALOGUE THEN SHOULD
FLOW NATURALLY WITH
THE NATIONALITY THE
CHARACTER'S SUPPOSED TO BE.

Lally says EXACTLY.

Richard says HAVE YOU EVER RUN INTO -
I'M NOT SAYING TELL TALES
ABOUT BAD PLAYWRIGHTS -
BUT WHERE YOU'RE SUPPOSED
TO BE DOING A DIALECT AND ALL
THE HOMEWORK YOU'VE DONE
SHOWS YOU THAT THE DIALOGUE
YOU'VE BEEN GIVEN TO DO
IT WITH ISN'T RIGHT?

Lally says YES.

Richard says NOW, WITHOUT
SAYING WHO IT WAS,
WHAT DID YOU
HAVE TO DO THEN?

Lally says THAT'S VERY TRICKY.
AND READING SOMEBODY
LIKE PATSY RODENBURG
REALLY HELPS WITH THAT,
BECAUSE SO MUCH OF IT
HAS TO DO WITH HOW YOU USE
YOUR TONGUE AND YOUR TEETH.
AND THERE MAY BE
CERTAIN VOWELS,
OR USUALLY
CONSONANTS, OF COURSE,
THAT YOU'RE LAZY WITH.
THAT'S WHERE YOU'LL BE
HAVING DIFFICULTY
WITH THE ILL-WRITTEN
PLAY USING A DIALECT.
SO, IF YOU CAN EXERCISE
THOSE CONSONANTS
AND GET YOUR TONGUE TWISTED
AROUND IN DIFFERENT WAYS,
THEN YOU CAN
MAKE IT WORK.
BUT IF THE RHYTHM ISN'T
THERE, AS YOU WELL KNOW.
IT'S THE RHYTHM.

Richard says NOW, WE'RE DEALING WITH
THE PRESENT RIGHT NOW.
I'M GOING TO WIND
UP BACK THERE,
BUT I WANT TO GO
BACK AND FIND OUT.
I'M NOT FINDING OUT,
BECAUSE WE HAVE KNOWN
EACH OTHER FOR YEARS.
BUT I'D LIKE OUR VIEWERS TO
KNOW WHERE YOU CAME FROM,
HOW YOU GOT THERE, ALL THE
STUFF YOU DID ALONG THE WAY.
YOU MENTIONED A TREMBLAY
PLAY WAS THE FIRST ONE YOU DID.
IT WAS IN VANCOUVER, IT
WAS 1974, '75, I THINK,
AND IT WAS
BROKEN PIECES,
EN PIECES DETACHEES.
BUT WHAT WERE YOU DOING
BEFORE YOU DID THAT?

Lally says I WAS ONE OF THOSE NATURAL
ACTORS, I GUESS, AS A CHILD.
WE HAVE FILM OF ME DANCING
ON TABLES AND ENTERTAINING.

Richard says NOTHING CHANGES.

Lally says NO!
AND ALSO, HAVING THE
OTHER SIDE WHICH IS QUITE
WITHDRAWN AND STRANGE
AND GOES OFF INTO ALL
SORTS OF FLIGHTS
OF FANTASY.
BUT GIVEN THE OPPORTUNITY
TO DANCE ON A TABLE,
WELL, I'D TAKE IT.
THEN I WAS AN ACTOR AT
10; I WORKED IN HAMILTON
WITH THE PLAYERS' GUILD WITH
MY UNCLE, BILL MITCHELL.
AND I PLAYED THE DAUGHTER
IN
FIVE FINGER EXERCISE,
WHICH WAS A BIG
DEAL AT THE TIME.
AND THE YOUNG ELIZABETH
IN
ELIZABETH THE QUEEN,
WITH GLADYS GILL
AT THE HELM.
AND I DID THOSE TWO PIECES;
THAT WAS VERY EXCITING.
THEN I WENT ON TO DO SOME
THINGS IN HIGH SCHOOL,
ET CETERA, AND I GOT
INTRODUCED AGAIN TO
PROFESSIONAL THEATRE
THROUGH L.I.P. GRANTS
THAT PIERRE TRUDEAU...

Richard says LOCAL INITIATIVE
PROJECTS, RIGHT,
FOR ALL THE PEOPLE WHO
CAN'T REMEMBER BACK THE
25-ODD YEARS OR MORE.

Lally says AND I WAS WITH A GROUP
WHICH DID TRANSLATIONS
OF MICHEL TREMBLAY PLAYS AND
TOOK THEM INTO THE KOOTENAYS.
AND WE DID
EN PIECES
DETACHEES
AND WE DID
JOHNNY MANGANO AND
HIS DANCING DOGS,
AND OTHER FAIRLY
OBSCURE TREMBLAY PLAYS.
LOVED THEM;
EVERYONE LOVED THEM.
WE DID THEM IN
PARKS AND SCHOOLS,
AND IT WAS WONDERFUL.
THEN I WENT BACK TO
VANCOUVER AND DECIDED TO...
OH, I'D DONE A LITTLE WORK
IN MONTREAL AND SORT OF
DREADFUL JEAN-CLAUDE VAN
ITALLIE PLAYS AND THINGS
THAT YOU SORT OF HAVE
TO DO IN THE LATE '60s.

Richard says PLAYING A BOOK OF
THE OLD TESTAMENT.

Lally says YES, YES, THE SERPENT.
THEN I GOT A JOB,
THE NOW INFAMOUS JOB,
WITH THE CITY PLANNING
DEPARTMENT IN VANCOUVER,
ACTUALLY USING SOMEONE
ELSE'S PORTFOLIO.
AND I'M NOT A BAD
DRAFTSMAN, BUT YOU KNOW.
SO, I DID THIS PLANNING WORK
UNTIL ONE DAY THEY SAID...
THEY JUST LIKED ME SO MUCH,
AND I'D BEEN WORKING ALONG
SO WELL, THAT THEY PUT ME
INTO A FAIRLY IMPORTANT
POSITION WITH FALLS
CREEK AND THEN HAD ME
DO A RENDERING
OF THE BRIDGE.

Richard says RIGHT.

Lally says WELL.

Richard says YOU COULDN'T.

Lally says I THOUGHT, OKAY, THIS IS
HOW I'M GOING TO GO THEN.
SO, I DID A RENDERING OF
THE BRIDGE WITH LITTLE CARS
WITH LITTLE WHEELS,
THINGS LIKE THAT.
AND THEY ALL LOOKED
AT IT AND WENT, OH...
OH.
SO, THEY VERY
GENTLY LET ME GO.
BUT THERE WERE
NO HARD FEELINGS.
IT WAS SORT OF ON
A HUMOROUS NOTE,
BUT IT'D GONE
ON FOR MONTHS.

Richard says IT WAS LIKE ONE OF YOUR
FIRST MAJOR CONTINUING ROLES
IN A TV SERIES...

Lally says THAT'S RIGHT, AND THEY ALL
CAME TO MY THEATRE WORK AND
LOVED IT AND THEY WERE VERY
SUPPORTIVE AND VERY SWEET.
IT WAS QUITE FUNNY.
BUT PEOPLE THAT I'D
DONE THE L.I.P. WORK
WITH KEPT RUNNING
INTO ME AND SAYING,
WHAT ARE YOU DOING?
YOU'RE CRAZY, YOU SHOULD
REALLY BE IN THEATRE.
SO, I WENT TO
DIFFERENT THEATRES;
I WENT TO BILL MILLERD AT
THE ARTS CLUB AND SAID,
IS THERE ANYTHING I CAN TRY
OUT FOR - IN MY ARROGANCE,
NOT EVEN KNOWING HOW
THESE THINGS WERE DONE.
AND HE SAID, WELL, YES,
WE'RE DOING THIS PLAY.
AND THREW
EN PIECES
DETACHEES
IN FRONT OF ME.
AH, SYNCHRONICITY!
AND I SAID, WELL, I JUST
HAPPEN TO HAVE DONE
THAT ONE FOR THE
LAST THREE MONTHS.
REALLY, HE SAID, AND
HAD ME AUDITION QUITE
A NUMBER OF TIMES.
BUT APPARENTLY, HE'D MADE UP
HIS MIND MUCH EARLIER AND
HE CAST THE WHOLE THING,
AND IT RAN FOR 10 WEEKS
AND IT WAS A BIG SUCCESS,
AND IT WAS SO MUCH FUN.
AND THAT WAS IT; I
DIDN'T STOP WORKING
IN VANCOUVER FOREVER.
AND THEN CAME
BACK TO TORONTO.

Richard says YOU AND I WORKED ON A SHOW
BY THE LATE BETTY LAMBERT
CALLED
SQRIEUX-DE-DIEU,
WHICH WAS VERY WILD.
I THINK PERHAPS - IN CASE
THIS IS SHOWN DURING FAMILY
HOUR - WE SHOULDN'T GO INTO
TOO MANY DETAILS ABOUT IT.
BUT YOU DID WIND UP IN
LEATHER AND BOOTS
AND WHIP AT ONE POINT,
BUT HUMOROUS, RIGHT?
A HUMOROUS DOMINATRIX.

Lally says WE DID THAT FOR TWO YEARS
AND TOURED IT ALL OVER CANADA.

Richard says THAT BROUGHT YOU BACK
TO THE EAST AGAIN,
AT THE EASTERN TOWNSHIPS,
AND ALL AROUND THERE.
I REMEMBER THEN,
YOU HAD THE MOST...
YOU'VE ALWAYS BEEN DEVOTED
TO THE THEATRE BECAUSE
YOU WERE RUNNING AROUND BEING
A TRUE PROTEAN ARTIST.
YOU WERE DOING THIS
PLAY IN NEW BRUNSWICK -
KATE IN NEW BRUNSWICK...
AND YOU WERE DOING,
WAS IT
DOLL'S HOUSE
OUT IN REGINA,
AND THEN
MUCH ADO ABOUT
NOTHING
IN VANCOUVER.
AND YOU'D GO BACK AND
FORTH AND BACK AND FORTH.
GREAT PARTS, PEOPLE
APPRECIATED YOUR TALENT,
BUT DID YOU FIND ALL
OF THAT HUSTLING
ABOUT PLEASANT
AT THAT TIME?

Lally says ACTUALLY, BY THE
TIME I HIT 30,
I COULDN'T STAND
IT ANYMORE.
I ACTUALLY WOULD BECOME
DEEPLY DEPRESSED
IN THOSE MOTEL ROOMS, WITH
THE BROWN RICE STUCK
TO THE BOTTOM OF THE POT,
AND NO WILL TO LIVE.
I REALLY FOUND THAT THIS
WAS NOT MY CUP OF TEA.
I REALLY LIKE ORDER AND A
CERTAIN BEAUTY AROUND ME.
AND I LIKE A CERTAIN PEACE,
OR AT LEAST ACCESS TO PEACE.
AND I DISCOVERED THESE
THINGS THROUGH THAT
PARTICULARLY FRANTIC
TOURING LIFESTYLE.
I LIKE TO BE ESTABLISHED
WHEREVER I AM
AND HAVE ACCESS TO THINGS
THAT ARE FAMILIAR.

Richard says YOU FOUND OUT WHAT YOU
WANTED BY WHAT YOU DIDN'T GET.
IT'S LIKE HAMLET
says, BY INDIRECTION,
FIND DIRECTION OUT.

Lally says THAT'S RIGHT, AND
SOME PEOPLE LOVE IT
AND DO IT ALL THEIR LIVES.
AND I BEGAN TO
REALIZE MORE AND MORE,
AS TIME WENT ON
IN THIS CAREER,
THAT THERE WERE A
WHOLE BUNCH OF THINGS
THAT I DIDN'T WANT.
AND ONE OF THEM WAS WHAT
I SAW IN VANCOUVER
AT A PARTICULAR POINT,
WHICH WAS A KIND OF
END-OF-THE-ROAD FEELING.
I KNOW IT'S NOT
LIKE THAT NOW,
BUT IT KIND OF WAS
THEN, AND I THOUGHT...
BECAUSE I WAS ONLY
THERE BY HAPPENSTANCE;
I'M REALLY AN
EASTERNER.
AND I THOUGHT,
IF I STAY HERE,
I THINK THAT'S GOING
TO HAPPEN TO ME.
SO, I HAD TO
GO BACK EAST.
AND I'VE ALWAYS FELT THAT I
HAVE TO DO THAT AT A CERTAIN
POINT, WHEREVER I AM, THAT
WHEN YOU FEEL THAT NEED
TO MOVE UNDERNEATH YOU,
YOU HAVE TO, FOR A REASON;
YOU HAVE TO SHIFT.

Richard says YOU GOT TO TORONTO AND ONE
OF THE THINGS THAT MADE
A MAJOR SUCCESS IN YOUR CAREER
AND PEOPLE STILL TALK ABOUT
IS THE TV DRAMA THAT
JEANNINE LOCKE PUT ON,
YOU'VE COME A
LONG WAY, KATIE.
WONDERFUL ROLE FOR YOU,
A TELEVISION ANCHOR,
WAS CROSS-ADDICTED, RIGHT?
ACTUALLY, FOR CBC,
QUITE AHEAD OF ITS TIME.
ADDRESSED IT BEFORE SOME OF
THE AMERICAN NETWORKS
WERE EVEN DOING IT.
HOW DID YOU
GET THAT ROLE?

Lally says I WALKED INTO
JEANNINE'S OFFICE;
THERE WAS AN AUDITION.
AND I WALKED IN
AND I MET HER.
I'D READ THE SCRIPT, AND
I JUST WENT AND SAID,
YOU'D BE CRAZY IF YOU DIDN'T
HIRE ME FOR THIS ROLE.
AND SHE SAID, OKAY,
WELL, YOU'RE HIRED.
SHE'D GIVEN ME
A READING.
THEY DIDN'T WANT A
WELL-KNOWN PERSON,
WHICH NOW, I DISCOVER
MANY YEARS LATER,
IS ONE OF THE PROBLEMS
WITH CANADIAN TELEVISION.
THEY DIDN'T WANT
ANYBODY KNOWN;
THEY DIDN'T WANT THAT TO
INTERFERE FOR A MINUTE
WITH WHAT THE AUDIENCE
WAS SEEING.
I THINK SHE LIKED THE
COMBINATION THAT I COULD
GIVE IT, TOO, OF BEING ABLE
TO BE THIS SOPHISTICATED
ANCHOR, BUT ALSO WITH THE
COUNTRY GIRL UNDERNEATH,
WHICH WAS KIND OF
IMPORTANT FOR THIS ROLE.
SO, I GOT THAT ROLE, AND
IT WAS A WONDERFUL ROLE.
AND IT WON A
LOT OF AWARDS.

Richard says AND YOU GOT A LOT OF GREAT
PERSONAL ATTENTION FOR IT.
BUT, YOU KNOW WHAT I'M
CURIOUS ABOUT - BECAUSE YOU
KNOW HOW SOMETIMES ONTARIO,
ESPECIALLY TORONTO,
CAN BE INSULAR -
THERE YOU WERE,
THIS LADY WHO HAD WORKED
ALL OVER THE COUNTRY,
HAD DONE LEADING ROLES
IN ALMOST EVERY REGIONAL
THEATRE IN THE COUNTRY.
BUT YOU WERE
DISCOVERED BY TORONTO.
DID YOU GET A CERTAIN
AMOUNT OF NEGATIVITY FROM
THE TORONTO COMMUNITY, THAT
HERE COMES THIS INTERLOPER
IN AND STEALS THIS PLUM ROLE
AND WINS ALL THE AWARDS?

Lally says EVEN THOUGH I'D BEEN BORN
AND BRED IN THAT AREA?
NO, BECAUSE I DIDN'T
STEAL ALL THE PLUM ROLES.
THIS WAS THE IRONY OF
THIS, WHICH WE ARE ALL
VERY FAMILIAR WITH NOW: I
WAS AN UP-AND-COMING STAR,
IN ALL THE MAGAZINES.
AND I REMEMBER, THERE WAS
LALLY CADEAU'S WEEK
AND EVERYONE WROTE, AND IT
WAS WONDERFUL ARTICLES...

Richard says YOUR 15 MINUTES.

Lally says YES, MY 15 MINUTES.
AND, BRIAN LINEHAN SAYING,
THIS WOMAN WILL HAVE SCRIPTS;
SHE WON'T EVEN BE
ABLE TO WALK OUT HER
FRONT DOOR BECAUSE OF THE
SCRIPTS ON THE PORCH.
NOT ONE SCRIPT, NO.
SO, I ALWAYS FIND IT IRONIC
THAT YOU GO FROM BEING
AN UP-AND-COMING STAR TO
A VETERAN VERY QUICKLY.
THERE'S NOTHING IN
BETWEEN, YOU KNOW?
WHERE IS THE STAR
PART IN BETWEEN?
ANYWAY, EVENTUALLY YOU
COME TO GRIPS WITH THAT.
I HAD ALSO, BY THAT
POINT, GOT INVOLVED WITH
THE TELEVISION SERIES,
WITH
HANGIN' IN...
WHICH I
HADN'T REALLY
WANTED TO DO.
I'D MET THIS WONDERFUL MAN;
ANOTHER ACTOR, BOB HALEY,
HAD INTRODUCED ME TO
THE PRODUCER, AND HE SAID,
DO YOU WANT TO
MAKE A PILOT?
AND I SAID, SURE, BECAUSE
I HAD NEVER MADE A PILOT.
I'D DONE
HARVEST
THOUGH,
WHICH WAS A LOT OF FUN,
WHICH WAS THAT MADE-FOR-TV;
IT WAS A LOT OF FUN.
AND GOT AN AWARD FOR THAT,
BEST NEWCOMER TO TELEVISION.
I SAID, SURE,
I'LL DO A PILOT,
TO FIND OUT WHAT
THAT'S LIKE.
SITCOM, HALF HOUR,
FOUR-CAMERA VIDEO STUDIO -
FIND OUT WHAT IT'S
LIKE; KIND OF FUN.
THEN THEY SAID, IT'S
BEEN WELL RECEIVED;
WOULD YOU LIKE
TO DO 10 SHOWS?
AND I SAID, 10 SHOWS,
WHAT HARM COULD THERE BE?
OKAY, I'LL DO 10 SHOWS.

Richard says THE SLIPPERY SLOPE.

Lally says THE SLIPPERY SLOPE!
MEANWHILE, I WAS
KIND OF THINKING,
THERE'S ALL SORTS OF GREAT
ROLES OUT THERE THAT I COULD
BE PLAYING IN THE THEATRE;
I WAS SEEING ARTISTIC
DIRECTORS OF
THE THEATRES.
THE NEXT THING I
KNOW, 109 SHOWS LATER,
I FINISHED
HANGIN' IN.
PULLED OUT, BECAUSE I'D HAD
MY CHILD, MY MIDDLE BOY.
AND I JUST WANTED TO
DO SOMETHING ELSE.
I WANTED TO GO
BACK TO THEATRE,
I WANTED TO
ACT AGAIN.
I HAD A VERY
DIFFICULT TIME.
THIS SOUNDS SO UNGRATEFUL,
BUT I HAD A VERY DIFFICULT
TIME EMOTIONALLY,
WORKING ON THAT SHOW,
BECAUSE I HAD JUST REACHED A
POINT AND AN AGE WHERE THERE
WERE ALL SORTS OF WONDERFUL
ROLES FOR ME TO PLAY.
I STARTED OFF PLAYING
LEADS AND PLAYING
MUCH OLDER WOMEN, AT
DIFFERENT POINTS.
I WANTED TO DISCOVER WHAT
IT'S LIKE TO PLAY THE ROLES
MEANT FOR MY AGE, ON
THEATRE, AND EXPLORE THAT.
AND THERE WERE PEOPLE
I WANTED TO MEET AND
WORK I WANTED TO DO.
I FELT LIKE I'D KIND
OF BETRAYED MYSELF.
MY SELF-ESTEEM REALLY
TOOK A BIG PLUNGE.
PEOPLE WOULD SAY, OH,
I'M CRYING FOR YOU:
109 SHOWS ON A
TELEVISION SERIES.
BUT IT WAS KIND OF
A TOUGH FIVE YEARS.
I REALLY KIND OF SUFFERED
EMOTIONALLY FROM IT.

Richard says BECAUSE YOU CAN'T
DO ANYTHING ELSE
WHEN YOU'RE DOING THAT.

Lally says AND I KEPT WANTING TO
GET OUT, BUT I TRAVELLED,
I TREKKED TO NEPAL,
I WENT TO THAILAND,
I WENT ALL OVER EUROPE AND
I BIKED AND I WALKED
AND I WENT TO UNIVERSITY
AND I STUDIED ITALIAN
AND I DID ALL KINDS OF THINGS
AND I RAISED CHILDREN.
IT GAVE ME WONDERFUL
OPPORTUNITIES AND I KEPT
BUSY ALL THE TIME AND LEARNED
ALL SORTS OF OTHER THINGS.
BUT INSIDE, I WAS DYING
BECAUSE I WASN'T DOING THE
WORK THAT I REALLY FELT I
SHOULD BE DOING AT THAT TIME.

Richard says AND WHEN YOU TRIED
TO DO OTHER STUFF,
I DON'T KNOW IF YOU RECALL,
YOU TOLD ME ONCE ABOUT
WHEN YOU FINALLY GOT A GREAT
STAGE ROLE IN THE WAKE
OF THE
HANGIN' IN
STUFF,
YOU DID ANOTHER EDUARDO
DE FILIPPO PLAY,
SATURDAY,
SUNDAY, MONDAY,
AT CANADIAN
STAGE IN TORONTO.
AND SOME OF YOUR HANGIN'
IN FANS CAME TO SEE YOU;
DO YOU RECALL?

Lally says OH, THAT WAS GLORIOUS.
I CAME DOWNSTAGE ONE NIGHT,
AND THERE COULDN'T BE
MORE NIGHT AND DAY FROM THE
CHARACTER IN
HANGIN' IN.

Richard says WHO WAS KIND OF...
HOW DO YOU DESCRIBE HER?

Lally says SHE WAS VERY MIDDLE-AGED,
SHE WAS PLUMP,
ITALIAN - SO ITALIAN.

Richard says AND
HANGIN' IN
WAS MISS PERKY,
MISS SOLVE-THE-PROBLEM.

Lally says YES, THAT'S
RIGHT: W.A.S.P.
SO, I WENT DOWN TO MY
DRESSING ROOM ONE NIGHT
AFTER THE SHOW AND THERE WERE
TWO GIRLS OUTSIDE THE ROOM.
AND THEY SAID...

Alternating between a suburban London accent and her own voice, she says HI...
HI...
I'M SO-AND-SO; THIS IS
MY FRIEND, SO-AND-SO.
SO, WE USED TO WATCH
YOU IN
HANGIN' IN.
SO, WE CAME TO SEE
YOU TONIGHT 'CAUSE
WE DIDN'T THINK
YOU'D BE VERY GOOD.
BUT, LIKE, YOU WERE ON THE
STAGE FOR A LONG TIME,
AND THEN FINALLY MY
FRIEND SAID TO ME,
WHERE'S LALLY CADEAU?
AND I DIDN'T KNOW, AND LIKE,
THEN WE FOUND OUT THAT WAS YOU.
SO, YOU'RE REALLY GOOD.
SO, IT WAS REALLY SWEET,
BUT I LOVED HER SAYING
SHE DIDN'T THINK I WAS
GOING TO BE VERY GOOD.
BECAUSE I GUESS YOU'D THINK,
HOW COULD YOU BE ANY BETTER
THAN SHE WAS ON
HANGIN' IN?

Richard says RIGHT, OR ALSO, YOU'RE
A SITCOM ACTRESS.
YOU TURNED AROUND AND
ONE MINUTE YOU'RE
DOING SHAKESPEARE
IN THE MARITIMES
AND IBSEN ON
THE PRAIRIES.
AND THEN YOU'RE
A SITCOM ACTRESS.

Lally says YES, WHICH I NEVER
FORGOT FOR ONE SECOND.

Richard says AND WHEN YOU
FINISHED IT THOUGH,
DID YOU HAVE TROUBLE
GETTING THAT ACCEPTANCE?
COULD YOU REWIND THE FILM
BACK TO WHERE YOU WERE
BEFORE YOU DID
HANGIN' IN?

Lally says I THINK I PROBABLY MISSED
FIVE YEARS OF SOMETHING,
BUT I PROBABLY GAINED
FIVE YEARS OF SOMETHING,
AND I SHOULDN'T
EVER FORGET THAT.
FORTUNATELY, THERE
WERE DIRECTORS
WHO HAD KNOWN ME BEFORE WHO
WANTED TO USE ME THEN.
AND BILL GASKILL
HAD ASKED ME
YEARS BEFORE
TO SORT OF STAND IN
THE WINGS WHEN
BRENDA DONAHUE
WAS ILL AND THAT
SORT OF THING.
THERE WERE PEOPLE
WHO KNEW ME.
SO, I DID
EDUARDO DE
FILIPPO
AND THEN
I THINK I WENT
TO NEW YORK.
I MIGHT HAVE DONE SOMETHING
ELSE -
OF THE FIELDS, LATELY,
WHICH IS ONLY ONE OF
THE MOST BEAUTIFULLY WRITTEN
PLAYS IN THE WHOLE
WORLD; DAVID FRENCH'S
OF THE FIELDS, LATELY.
DID A FEW OTHER THINGS
IN THAT TIMEFRAME,
WHICH REFUELLED ME.

Richard says SO, YOU'RE BACK IN TORONTO
AND ANOTHER LONG-RUN SERIES
COMES UP - OF COURSE,
ROAD TO AVONLEA.
DID YOU KNOW THIS WAS
GOING TO BE A LONG RUN
WHEN YOU DIPPED
YOUR TOE INTO IT?

Lally says NO, BUT THAT
WAS MUCH MORE...
THAT WAS PRETTY EXCITING,
BECAUSE I HAD JUST
HAD ANOTHER CHILD, AND WENT
IN FOR THIS HYSTERICAL
VIDEO INTERVIEW.
MY HAIR WAS ABOUT A
QUARTER OF AN INCH LONG;
IT WAS COPPER
PENNY RED.
I HAD JUST HAD A BABY, I
WAS NURSING, AND I THOUGHT,
THIS IS GOING TO BE FUNNY IF
SOMEBODY IS GOING TO SAY,
OH, YES, WE WANT
HER FOR THIS ROLE.
AND THEY DID, AND THEN
I READ THE CHARACTER'S
DESCRIPTION: PEONY
CHEEKS AND EVERYTHING.
AND I WORE A WIG AND I
LOOKED PERFECTLY DREADFUL.
BUT IT WAS A
WONDERFUL CHARACTER,
AND THEY SAID AT THE TIME,
THERE'S NOT GOING TO BE
THAT MUCH FOR
LALLY TO DO.
BUT I WAS VERY EXCITED ABOUT
WORKING ON A KEVIN SULLIVAN
PROJECT AND WORKING WITH
JACKIE BURROUGHS
AND CEDRIC SMITH
AND MAG RUFFMAN,
AND ALL THOSE
WONDERFUL PEOPLE.
AND THE STORY WAS
WONDERFUL.
AND WE JUST DID, WHILE WE
WERE OPENING
JULIUS CAESAR
AND
MISS BRODIE, I
WAS WORKING IN THOSE
LAST FIVE SUNDAYS ON
MY DAY OFF DOING
A TWO-HOUR SPECIAL
FOR CHRISTMAS.

Richard says THAT'S RIGHT, THAT TURNED
OUT TO BE A CHRISTMAS SPECIAL.

Lally says THE SWAN SONG.
THAT WAS WONDERFUL FUN TO BE
BACK WITH EVERYBODY AGAIN.
SO, I DISCOVERED WHAT IT
WAS LIKE TO DO WHATEVER,
91 OR SOMETHING SHOWS.

Richard says AND THAT SEEMED MORE
FULFILLING TO YOU THOUGH.

Lally says WELL, YES, IT CERTAINLY
KEEPS YOU BUSY DOING
AN HOUR-LONG
LOCATION SERIES,
WINTER AND SUMMER.

Richard says DID IT CHANGE
OVER THE YEARS?
BECAUSE I KNOW, FROM
OUR POINT OF VIEW,
SITTING AT HOME, THE
EPISODES EVOLVED AND
THE SHOW CHANGED AND
GOT DIFFERENT.
WAS IT DIFFERENT TO WORK ON
IT AS THE YEARS WENT BY?

Lally says YES, AND THERE
WERE THINGS THAT...
THINGS THAT
BECAME DIFFICULT;
IT WAS A DIFFERENT KIND
OF EXERCISE IN A WAY.
THERE, IN FACT, WASN'T A
LOT FOR ME TO DO A LOT
OF THE TIME, AND I LEARNED
HOW TO DEAL WITH THAT,
WHERE YOU HAVE THE
ENERGY, WHERE YOU
WANT TO BE DOING
MORE, WHERE YOU...
I'M FAIRLY MUCH OF A
STAGE HOUND, YOU KNOW;
I LIKE THOSE ROLES WHERE YOU
COME ON AT THE BEGINNING AND
YOU LEAVE AT THE END.

Richard says EARN YOUR PAYCHEQUE.

Lally says YOU REALLY GET TO USE THAT
ENERGY, THAT SORT OF...
THAT'S MY IDEA OF FUN.
SO, THERE WAS THE ART TO
NOT USING THE ENERGY AND
TO NOT BECOMING DISSATISFIED
OR BORED OR WHATEVER.
TO LEARN HOW TO REALLY READ
A BOOK AND DO NEEDLEPOINT
AND THAT SORT OF THING.
AND TO HAVE LITTLE
TO DO WITHIN A SCENE
WHERE YOU WANT TO HAVE MORE
TO DO, OR YOU FEEL YOU
SHOULD HAVE MORE TO DO,
AND JUST LEARNING HOW
TO DEAL WITH THAT
SORT OF THING.
IT'S A DIFFERENT
KIND OF DISCIPLINE.

Richard says AT THAT POINT,
I WAS SAYING,
IF YOU'VE BEEN IN
A PART FOR YEARS,
DO YOU START TO FEEL YOU
KNOW THE CHARACTER
BETTER THAN THE
WRITERS DO?

Lally says YES, YOU
DEFINITELY DO.
YOU DEFINITELY DO.
YES, YOU WISH THERE
WERE MORE CONSULTATION,
THAT IF THEY JUST ASKED YOU
AND YOU READ THE SCRIPT,
YOU THINK, OH, GOSH.
AND I'M NOT NEUROTIC
ABOUT THIS KIND OF THING.
IF SOMEBODY JUST SAT DOWN
WITH ME FOR FIVE MINUTES
AND SAID, HOW DO YOU THINK
AUNT JANET WOULD APPROACH
THIS PARTICULAR
SITUATION?
I'D BE ABLE TO WORK ON IT
WITH THEM, NO PROBLEM.
BUT MAYBE THEY HAVE HAD
EXPERIENCE OR THEY'RE NERVOUS
ABOUT THAT SORT OF THING
BECAUSE OF EXPERIENCES
THEY'VE HAD WITH ACTORS
WHO ARE TREMENDOUSLY
DEMANDING OR WHATEVER.
BUT I'M SURE THAT THERE'S A
WAY OF CREATIVELY DOING THAT
SO THAT CHARACTERS IN A
SERIES - IT'S AS WELL LIKED
AS A SERIES - CAN
GIVE MORE INPUT,
CAN FEED INTO THE CHARACTERS
IN A VERY CONSTRUCTIVE WAY.

Richard says AVONLEA
FINALLY WRAPS,
YOU DO SOME MORE STAGE,
AND YOU COME TO THE
STRATFORD FESTIVAL.
HAD YOU ALWAYS
WANTED TO COME HERE?

Lally says YES, I ALWAYS
WANTED TO COME HERE.
I WANTED TO COME
HERE FOR YEARS,
AND I HAVE A
FUNNY STORY.
WHEN URJO KAREDA WAS A DRAMA
TEACHER HERE WHEN ROBIN PHILLIPS
WAS HERE, AND URJO KAREDA CAME
OUT WEST WHERE I WAS WORKING,
AND I HEARD HE WAS THERE
AT THE SYLVIA HOTEL.
AND I PHONED AND SAID,
WOULD HE COME AND SEE ME DO
BEATRICE IN
MUCH
ADO ABOUT NOTHING?
AND HE SAID, ABSOLUTELY, THE
NAME ON EVERYONE'S LIPS,
I CAN'T WAIT TO SEE YOU,
IT'D BE SO MUCH FUN.
AND HE CAME TO A SHOW, AND
THERE WAS A PARTY AFTERWARDS
AT SOMEONE'S HOUSE.
BUT HE DIDN'T
COME BACKSTAGE.
AND THAT MADE ME A LITTLE
NERVOUS, BUT I THOUGHT,
HE'LL PROBABLY
BE AT THIS PARTY,
BECAUSE HE KNOWS
THIS PERSON.
AND I WENT TO THE
PARTY, AND THERE,
URJO WAS IN A
DOORFRAME, OBSERVING.
SO, AS YOU WALKED IN, THERE
WAS URJO AT THE END OF THE HALL.
AND I WALKED TO THE END OF
THE HALL AND SAID, HELLO.
AND HE SAID, WHAT ON EARTH
DID YOU DO TO YOUR VOICE?
AND I SAID,
OH, I GUESS...
HE DIDN'T LIKE
IT VERY MUCH.
AND HE HAD LOTS OF THINGS
TO SAY, AND ACTUALLY,
THEY WERE ALL KIND OF
RIGHT, AND I KNEW THAT.
SO, IT WAS QUITE FUN, BUT
THAT WAS OUR FIRST MEETING.
AND HE KIND OF HELPED
ARRANGE FOR ME
TO HAVE A MEETING
WITH ROBIN PHILLIPS.
WHICH WAS AN
INAUSPICIOUS BEGINNING.
I THINK, IF I REMEMBER
CORRECTLY - BECAUSE IT'S ONE
OF THOSE BLANKS - THAT ROBIN
ASKED ME TO SEE HENRY IV
PART 2 - I THINK THAT'S WHAT
IT WAS - AND JUST WRITE
HIM A LITTLE CRITIQUE,
WHAT DID I THINK OF IT?
AND I DID!
[laughing]
AND I DID,
KNOWING LIKE, UHH?
JUST LIKE ONE OF THOSE
STREAM OF CONSCIOUSNESS.
VERY LATE '60s.
AND SO, THAT WAS
THE END OF THAT.

Richard says SO, AFTER THAT, I CAN SEE
WHY IT TOOK YOU A WHILE
TO GET TO STRATFORD.
BUT WHEN RICHARD MONETTE
FINALLY INVITED YOU,
WHAT WAS YOUR REACTION?

Lally says OH, I WAS JUST
THRILLED.
AND ALSO, BECAUSE RICHARD
AND I HAD WORKED TOGETHER
IN EDUARDO DE FILIPPO'S
SATURDAY, SUNDAY, MONDAY
10 YEARS BEFORE.
SO, WHEN THEY CALLED
ME TO DO FILUMENA,
I WAS JUST THRILLED.
AND FINDING OUT THAT I'D
BE WORKING WITH RICHARD
AGAIN WAS GREAT FUN.

Richard says AND YOU GOT TO DO THAT,
SO IT WAS WONDERFUL.

Lally says YEAH, AND THEN WE GOT TO
DISCUSSING OTHER THINGS.
BUT EVEN FOR A
GROWN-UP PERSON,
IT'S A VERY SCARY
INSTITUTION TO COME INTO.
IT'S THRILLING,
IT'S VERY EXCITING,
AND HAVING BEEN TO MANY
BOARDING SCHOOLS IN MY LIFE,
I FEEL VERY MUCH LIKE THIS
HAS THE SAME FEELING.
SO, I WENT IN WITH THE SAME
TREPIDATIONS: THE OLDER KIDS,
THE YOUNGER KIDS,
THE HEADMISTRESS -
OR HEADMASTER,
IN THIS CASE.
ALL THAT SORT OF THING,
THE DIFFERENT TEACHERS,
THE DIFFERENT COACHES YOU
COME IN CONTACT WITH.
THE DIFFERENT PLAYS, THE
DIFFERENT DIRECTORS.
AND THEN THERE'S A
SOCIAL ASPECT OF IT,
WHICH I DISCOVERED THAT I
FOUND ACTUALLY TERRIFYING,
WHERE YOU STOOD AND IF WHAT
YOU SAID OFFENDED SOMEBODY
AND WHY WAS SOMEBODY COOL
WHO HAD BEEN WARM TO YOU
THREE MONTHS BEFORE.
AM I JUST READING
SOMETHING INTO THAT LOOK,
OR DID I REALLY SEE
WHAT I THOUGHT I SAW?
OH, MY GOD, LUNCH
COULD BE JUST FRAUGHT;
YOU COULDN'T DIGEST A
THING, JUST WORRYING
IN THE GREEN ROOM ABOUT
ALL THESE THINGS.
THIS IS WHAT I FOUND, AND I
FOUND IT FASCINATING THAT I
WAS FINDING THIS, BECAUSE
I'M WAY PAST THE AGE
WHERE YOU SHOULD BE
FEELING THESE THINGS.
BUT THEN YOU DISCOVER
GRADUALLY, AS TIME GOES ON,
THAT SO MANY OTHER PEOPLE
ARE FEELING THE SAME THINGS.
AND THEN YOU THINK, OH,
RICHARD AND I WILL BE SEEING
LOTS OF EACH OTHER; AND YOU
NEVER SEE EACH OTHER AT ALL.
AND THEN YOU WORRY, HAVE I -
AND THEN YOU BEGIN TO THINK,
HEAVENS, THEY
INVITED ME; I DIDN'T...
BURST IN HERE, BUT SOMEHOW,
I FEEL LIKE I HAVE.
I FEEL LIKE I'VE TAKEN ROLES
AWAY FROM SOMEBODY ELSE;
I'VE IMPOSED MYSELF
ON STRATFORD.
WHEN THAT WASN'T REALLY
THE WAY IT WAS AT ALL.
SO, ALL SORTS OF...

Richard says STRANGE FEELINGS.
BUT THEY MUST HAVE
RESOLVED, BECAUSE AFTER
THE FIRST SEASON, YOU AND
YOUR HUSBAND, ROBIN,
AND YOUR FAMILY HAVE
MOVED TO STRATFORD.

Lally says MOVED THERE PRETTY FAST.
I WAS ALONE HERE FOR THREE
MONTHS JUST WORKING IN
THE FESTIVAL, AND JUST FELL
IN LOVE WITH THE PLACE.
AND I WAS READY
FOR A MOVE.
I DON'T KNOW IF EVERYONE
ELSE WAS, THE FAMILY,
BUT IT'S WORKED OUT.
IT'S A WONDERFUL
PLACE TO BE.
WE LOVE IT, WE LOVE THE
PEOPLE, WE LOVE THE PLACE.
BUT IT DOESN'T MEAN
THERE'S ANY SECURITY,
BECAUSE EACH YEAR IS
DEALT WITH SEPARATELY.

Richard says THE OLD WIVES'
SAW USED TO BE,
YOU BUY A HOUSE
IN STRATFORD...

Lally says YOU NEVER WORK IN
THE FESTIVAL AGAIN.
SO, I TRIED TO GET SOME
KIND OF GUARANTEE THAT THAT
WOULDN'T BE THE CASE, BUT
THERE WAS NO GUARANTEE.
AND EACH YEAR IS DEALT
WITH AS IT COMES ALONG.
AND I FIND THAT
PRETTY HARD TO TAKE
AT THIS STAGE IN MY LIFE.
I WOULD REALLY LIKE TO KNOW
THAT I COULD WORK HERE
FOR TWO YEARS,
OR THREE YEARS.
YOU WOULDN'T HAVE TO
KNOW MORE THAN THAT.
BUT YOU USED TO HEAR ABOUT
PEOPLE COMING IN AND
SOMEONE SAYING, AS LONG
AS I'M ARTISTIC DIRECTOR,
YOU'LL ALWAYS BE...
THIS DOESN'T HAPPEN.
MAYBE IT DID FOR THEM,
BUT IT DOESN'T HAPPEN.
SO, IT'S ALWAYS A WORRY.
AND THERE ALWAYS HAS TO BE
A WAY OF PAYING THE TAXES,
PUTTING THE MONEY ASIDE,
DEALING WITH ALL THOSE
DAY-TO-DAY THINGS, AND THE
CHILDREN, AND THE CAMPS,
AND THIS AND THAT.
AND NOT FEELING THAT YOU'RE
STANDING ON THE EDGE OF
A PRECIPICE, BECAUSE THE WHOLE
THING COULD JUST FALL AWAY
AND THERE'D BE NOTHING AND
YOU'D BE LEFT WITH THE HOUSE...

Richard says AND THAT'S IT.

Lally says AND THAT'S IT.

Richard says BUT WHAT YOU'VE JUST
DESCRIBED IS THE CLASSIC,
LIFE IN CANADIAN
SHOW BUSINESS.

Lally says LIFE IN CANADIAN
SHOWBIZ, THAT'S RIGHT.

Richard says AND IT'S BEEN GOOD
TO YOU, BUT WE STILL
HAVE TO SEE WHAT
COMES NEXT.

Lally says ALWAYS.

Richard says AND WE'LL WAIT
AND WATCH.
LALLY, BEST OF LUCK.

Lally says THANK YOU VERY MUCH, RICHARD.

Richard faces the screen and says
FOR
DIALOGUE, I'M
RICHARD OUZOUNIAN.
GOODBYE FOR NOW.

Music plays as the end slate reads “Dialogue.”

A production of TVOntario. Copyright 1998, The Ontario Educational Communications Authority.

Watch: Lally Cadeau